"Degas’ statuettes can truly be seen as three-dimensional displays of his exploration of the human form, complementing his two-dimensional studies on paper. In the present work, Degas experiments with the use of pastel by using the medium to imbue the sheet with all the energy and movement present in the backstage world of these ballet performances. Rendered in vibrant hues of pink, blue, green and yellow, Degas skillfully depicts the vigorous movement of the dancer’s fan while also alluding to the flurry of colorful tutus behind the dancer through the quick, energetic application of pigment in the background.
pastels offer a chance to see his draftsmanship at its finest. His use
of cross-hatching, shading and smudging capture the palpable energy and
attention he dedicated to each work. An exquisite example of Degas’
impressive mature works on paper, indeed Danseuse à l'éventail exudes
the same color and energy present in the backstage world of the ballet,
while illustrating the vital creative connection between the artist’s
two-dimensional and three-dimensional works that served as a defining
feature of his career."
lot has an estimate of $300,000 to $500,000. It sold for $487,500.
Lot 115, "Paysage," by Edgar Degas, pastel over monotype on paper, 10 1/2 by 13 1/2 inches, 1892
present work was featured in Degas’ sensational exhibition at the
Galerie Durand-Ruel in 1892—not only his first and only solo show, but
an exhibition that would prove to be a breakthrough for the brand new
process of color printmaking. Perhaps most surprising of all was
the subject matter Degas chose to exhibit: landscapes, a pivot away
from a reputation built on depictions of ballerinas, laundresses and
nudes. In part because Degas publicized himself as the premier painter
of the human figure, his production of landscapes has been largely
"In fact Degas produced landscapes throughout his career in a variety of media: "It was in the decade of the 1890s, however, that Degas’ diverse encounters with the landscape bore the most spectacular fruit” (Richard Kendall, op. cit., p. viii). While Degas described the vistas he portrayed as purely imaginary, Paysage was part of a suite of color monotypes begun in the Burgundy region in 1890 after a twenty-day carriage trip through the countryside with the artist’s companion, the recently widowed artist Paul-Albert Bartholomé.
"Speaking specifically about the present work, Richard Kendall explains that “The crisply applied forms of the monotype have been allowed to remain visible within the final composition, resembling brush-marks or sweeps of liquid colour. Where pastel has been applied, it reinforces or enhances a printed landscape feature, rather than attempting to change or conceal it. This is particularly evident in Landscape, where the contours of the original image have been faithfully followed its towns subtly extended by the pastel strokes" (quoted in ibid., p. 190).
"This series of works speaks to the immense influence of Japanese prints on Degas....Verging on abstraction, the present work is a harbinger of the Color Field painters which would emerge in the United States following World War II."
lot has an estimate of $250,000 to $350,000. It sold for $337,500.
Lot 430, "Paysage avec meules, Osny," by Camille Pissarro, oil on canvas, 18 by 21 5/8 inches, 1883
catalogue provides the following commentary:
"Paysage avec meules, Osny was purchased by Paul Gauguin, a keen collector of Impressionist painting before he gave up his job as a stockbroker. He was particularly drawn to Pissarro's work and known to have lent three Pissaro paintings to the Impressionist exhibition of 1879. Pissarro became a close friend and mentor, painting with his younger protégé during the summer and providing support when Gauguin wrote to inform him in October 1883 that he had decided to become a professional artist. Pissarro was an encouraging example since he had also given up a career in business to become an artist. Their biographies otherwise read in reverse: Pissarro grew up in the Caribbean and only moved to Paris aged 25, whereas Gauguin famously would leave France in order to explore Martinique and Tahiti, inspired perhaps by his mentor's accounts of an exotic childhood.
"Camille Pissarro was arguably the most complex of all the Impressionists. He was the only artist of that loosely defined group to exhibit at all eight Impressionist exhibitions between 1874 and 1886, and he even drew up the provisional charter at the outset, yet the diversity of styles with which he experimented during that time was also perhaps the most wide-ranging. Painted in the same year as his first one-man show, this stunning view of haystacks in late afternoon sun reveals some of the important stylistic shifts that his work underwent in the early 1880s.
"As Christopher Lloyd and Anne Distel note of his work from this period: 'Regarding the compositions, there is less emphasis on recession and spatial depth. The basic elements—foreground, middle distance and background—tend to be flattened, so that the design reads upwards as a series of horizontal bands' (Camille Pissarro, 1830-1903 (exhibition catalogue), Hayward Gallery, London, 1980, p. 116). The tessellating triangular sections of the present work demonstrate this new departure; the winding road that often leads the viewer’s eye to the vanishing point in Pissarro’s earlier work is absent, and a traditional aerial view or any sense of height is replaced by a modern sense of spatial ambiguity.
"His technique evolved in favor of small, evenly distributed and heavily loaded brushstrokes, anticipating his association with the Neo-Impressionists in the second half of the 1880s. The parallel brushstrokes in the fields and the haystacks of the present work combined with the vibrancy of the palette creates an iridescent effect that is highly characteristic of this period, though it is easy to forget that divisionism was still unchartered territory for many artists of the avant-garde and he was well ahead of his contemporaries in this regard, boldly exploring the individuated dashes of color that created these arresting effects.
"Self-doubts about the direction of his art are movingly recorded in his letters, and in view of the vigorous analysis to which he subjected his work there is little doubt that these effects were deliberately sought. Nor can there be any doubt as to their sensational impact. In 1887 a landscape by Pissarro was temporarily removed from a Georges Petit exhibition on account of someone being offended by its luminosity—testament to just how radical his paintings appeared at the time—and the present glorious view is among the most luminous to appear on the open market. Paysage avec meules, Osny prefigures the celebrated series which Claude Monet painted in 1891 neighboring Giverny, but whereas Monet’s composition is tightly focused, Pissarro painted a more expansive scene, giving the viewer a broad perspective of the terrain beyond...."
The lot has an estimate of $700,000 to $1,000,000. It sold for $836,000.
he initially included objects traditional to the still-life genre, such
as fruit and vegetables, more esoteric items like fans and chinoiserie,
rare stuffed fish or shells appear with greater frequency in his mature
works. The iridescent glow of the shells in his grandmother’s curiosity
shop caught his imagination as a young boy, and large conches were
often used as the centerpieces of his still lifes.
"Famously reclusive, Ensor remained in Ostend throughout the war and the present work is one of only a handful paintings which he produced in 1914. His studio was in the attic of the narrow family house which had large windows at street level to display the shop’s exotic wares that hung from transparent threads. “To some extent, the future of modern painting was determined in that attic” (Paul Haesaerts, Ensor, New York, 1959, p. 50).
"A description of this strange setting was provided by the writer Stefan Zweig, whose account of a visit in 1914 is recorded by Volker Weidermann: “Zweig went in. Yes, he was told, her son was upstairs, why didn’t he just go up. A dark, narrow hallway and stairs carpeted in red, maliciously smirking masks lining the stairwell. He passed a tiny kitchen, red-enameled pots on the stove, dripping faucet. Up on the third floor a man wearing a flat cap was sitting at the piano playing quietly to himself, apparently oblivious to everything around him… A round table displayed a large armful of dusty grasses in a vase, painted, Chinese, acting as the base for a laughing, toothless skull, wearing a woman’s hat stuck with dried flowers. The man at the piano kept playing to himself and humming. Stefan Zweig stood for a while as if paralyzed, then he turned around and ran down the stairs, through the shell shop and onto the street, in the sun, back into the daylight. He wanted to get away from here, back to being carefree, have something to eat, regain his composure” (Volker Weidermann, Ostend, Stefan Zweig, Joseph Roth, and the Summer Before the Dark, London, 2016, n.p.).
mottled but clearly delineated planes in the present work anticipate
the color combinations of mid-century artists such as David Hockney or
lot has an estimate of $150,000 to $250,000. It sold for $162,500.
"Bonnard cast aside traditional notions of perspective, as we see in Femme à la rose where he plays with flattened planes and geometric alignments, years before it became common practice to build a composition so flagrantly around squares, lines and angles. The effect he sought was "to show what one sees when one enters a room all of a sudden," that sense of uncertain depths before one has brought into focus or identified the various details (quoted in Marcel Arland & Jean Leymarie, Bonnard dans sa lumière, Paris, 1978, p. 21).
"Radical in execution, this intimate scene is a classic example of the manner in which Bonnard’s best work feels both traditional and completely modern at the same time. The year after it was painted, Femme à la rose was acquired by the legendary gallerist Heinrich Thannhauser, whose Munich exhibitions included the work of some of the most notable French Post-Impressionists and artists who would later come to define the avant-garde."
lot has an estimate of $300,000 to $500,000. It sold for $375,000.
"Although Brancusi worked primarily as a sculptor, the artist completed a limited number of works on paper, many of which he made for his friends or patrons when they visited his studio. According to Brancusi scholar Margit Rowell, this body of work numbers between 150-200, though examples as complete as the present work are rare within this group.
contrast to the process of sculpting in marble or wood, drawing
provided Brancusi with more immediacy of expression and encouraged a
freer exploration of form, yet the change in medium did not deter him
from his primary goal: to strip down detail and focus on line. Dr.
Friedrich Teja Bach, another leading scholar on Brancusi,
explains: “Simplicity is thus the outcome of the artist’s effort to
resolve the complexity of natural forms. But there is more to
resolution than mere elimination: it is also the preservation, even the
generation, of form… Essential form in Brancusi is not reductive but
productive. It is defined not by the precision of geometry but by the
(in every sense) pregnant concision of life” (Constantin Brancusi:
1876-1957 (exhibition catalogue), Musée national d’art moderne,
Centre Georges Pompidou, Paris & Philadelphia Museum of Art,
Philadelphia, 1995, p. 23).
"Nu is divided into three horizontal sections in a softly gradated palette to suggest a sense of depth. The model’s limbs are outlined with the aid of negative space where Brancusi has left the ground unworked. The clean lines and restraint of the present gouache suggest that his works on paper deserve the same level of critical attention as his work in stone or metal. As Rowell writes, “In his drawings...Brancusi provides significant clues as to his vision and his priorities… [His drawings bear] witness to an approach entirely consistent with his vision of the world and his approach to form” (ibid., pp. 287-88)."
lot has an estimate of $400,000 to $600,000. It failed to sell.
"A testament to Lam’s technical mastery, this work executed on burlap exhibits the rich darkness and rhythmic composition characteristic of his mature period. During this period Lam often worked directly on his prepared canvases in charcoal, later reinforcing his compositions in oil but rarely revising them; Max-Pol Fouchet describes this extraordinary draftsmanship as 'heightened plastic decisiveness, a handwriting endowed with clarity and dynamism' (ibid., p. 122) Lam’s crisp, sweeping lines contribute to an overall quality of understated elegance in this mysterious composition, rendered in rich blacks. This flattening of the picture plane and clarity of the image underscores its emotive power, a technique Lam drew partially from the art of Oceanic cultures, which he began to collect eagerly in the 1940s. Here, Lam harnesses the full power of his complex pictorial vocabulary to create an image with powerful psychic presence.
"In Lam's Au Commencement de la Nuit (Bonjour Monsieur Lam), the artist depicts himself within the mythical and fantastic world of his imagery, stalking across the composition on horseback. He seems arrested in motion and, like Courbet, turns bearded head towards the spectator, breaking the wall of the picture plane and inviting the viewer into a world beyond our own. Nestled amongst the snarl of limbs is another figure; the iconic image of a Femme-cheval, a woman-horse, emerges. Further to the right, Lam rises above her as a geometric second head with two prominent horns, eyes wide open and staring up towards his two arms and hands that close the composition on the right side with a protective gesture. A mysterious long shape with ribs or spines crosses the painting in parallel of the creature's body: its presence echoes and accentuates the angular and fleshless qualities of these limber, linear beings.
image of Lam riding the Femme-cheval relates closely to his
study of Santería. In devotional practices, participants become vessels
for and are 'ridden' by the Orisha (god or goddess) summoned,
bridging the barrier between the divine and the mortal. Here, Lam
embodies the Orisha Eleguá, the god of the crossroads, who holds the
keys to the past, present, and future. Where Courbet presents us a
moment in time, Lam presents an encounter with eternity."
lot has an estimate of $700,000 to $900,000. It sold for $860,000.
"Sotheby’s is honored to present an important work from the Collection of Mercedes and Gabriel García Márquez. A Nobel laureate in literature, Garcia Márquez is considered the master of magical realism: fiction in which fantastical events come to pass in otherwise realistic settings, in which the line between the real and the possible is erased. García Márquez’s celebrated novels transport us to complex universes tangled with miracles and nightmares, love and violence, death and resurrection....
"Throughout his life, García Márquez maintained close friendships with some of Latin America’s most revered visual artists, among them Wifredo Lam and fellow Colombians Fernando Botero and Alejandro Obregón. Perhaps it was with the surrealist painting of Wifredo Lam that he felt the closest affinity, as both surrealism and magical realism describe the realm between dreams and reality on the borderline of the possible. Lam also collaborated with the author, illustrating a portfolio of engravings for El último viaje del buque fantasma, a short story published in 1976.
"García Márquez’s enduring influence in Latin American literary circles cannot be overstated. Three decades after the publication of Cien años de soledad, he was still the titan with whom every serious Latin American writer needed to reckon. Ultimately, he forged Latin America’s most contagious and original style. He wrote its most influential and popular books about the motives of tyrants and the endurance of love. And he explained what connects his perennial themes: “You know, old friend, the appetite for power is the result of an incapacity for love.”
"As opposed to Picasso and the surrealists, his European contemporaries who often appropriated elements of African art into the formal innovations of modern art, 'Lam's enduring contribution to world art history was the reclamation of an African identity within mainstream art history.' --Lowery Stokes Sims
"Femme avec un oiseau (1949) portrays the seductive figure of a femme cheval, the avatar of female power largely considered the cornerstone motif in Lam's work. (Lowery Stokes Sims, "Lam's Femme Cheval: Avatar of Beauty," in Lam in North America (exhibition catalogue), Milwaukee, Patrick and Beatrice Haggerty Museum of Art, 2007, p. 28.) As a formal archetype, the Femme cheval embodies the Africanized forms, modernist hybridization and anatomical disjuncture first consolidated in The Jungle (1943), Lam's preeminent masterpiece in the collection of The Museum of Modern Art in New York. Acquired by the Museum in 1945, The Jungle (Fig. 1) anticipates the gradual emergence of the physiognomic character evident in the femme cheval: "helmet heads with prominent noses and Egyptesque prosthetic beards and heads from which a fall of hair flows." (ibid., p. 29) A deeper study within this particular series that compares the individual representations of femme chevals reveals that the shape of their heads vary: the version here is typical of the elongated “trumpet” type with protruding sharp “knives” that sustains an air of semi-ferocity integral to our reading of these figures as the “collective mythical virgin-beast, a timeless symbol of carnality." (Holliday T. Day and Hollister Sturges, Art of the Fantastic: Latin American Art, 1920-1978 (exhibition catalogue), Indianapolis Museum of Art, Indianapolis, 1987, n.p.) Above all, the femme cheval represents the devotees of the Afro-Cuban religion Lucumí, said to become the caballo/cheval/horse, “ridden” by the deity or orisha during ritual possession.
"Lam’s artistic evolution was ferocious upon his return to Cuba. "I decided that my painting would never be the equivalent of that pseudo-Cuban music for nightclubs. I refused to paint cha-cha-cha. I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the Negro spirit, the beauty of the plastic art of the blacks." (Wifredo Lam, quoted in Max-Pol Fouchet, Wifredo Lam, Barcelona & Paris, 1989, pp. 188-189.) By 1942, his approach to painting, composition and imagery was one tasked with a renewed spirit and distinct direction. In re-encountering his native country's lush, natural landscape and reviving his interest in Santería practices, an unprecedented, inventive aesthetic style emerged. Executed in 1949, Femme avec un oiseau is a prime example of Lam’s new visual vocabulary—a masterful expression where “reality and the dream world become confused.” (Elizabeth T. Goizueta, “Wifredo Lam’s Poetic Imagination and the Spanish Baroque,” in Wifredo Lam: Imagining New Worlds (exhibition catalogue), Boston, McMullen Museum of Art, 2014, p. 16)
"In the present work, Lam presents us with a maturely stylized femme-cheval, a solitary gentle being in a portrait-like format lovingly engaged with the figure of a young bird which she tenderly holds in her hand. Lam’s isolation of the figure itself, void of a recognizable background—allows for an unobtrusive and personal interaction with the viewer. A seemingly maternal subject, Lam renders the painting as both a seductive confrontation and a mysterious apparition. Set in an empty, hazy space he utilizes delicate, pastel tones of grays, blues, and tints of lavender that create a dream-like revelation and recession by this double-faced, hybrid figure.
"In the late 1940s, Lam had shifted from the colorful palette of his 1942-45 paintings to a more limited range of blacks, browns and beiges, and as his palette changed so did his way of dealing with the spatial organization of his figures. His compositions of 1942-45 are characterized by complex interactions between the figural elements and their environments; they intrude into each other’s forms and space. By contrast, the post-1946 works show a flattening of the shapes into silhouettes set against a neutral background. The variations of form and design become seemingly endless throughout Lam’s investigation of this character, with no less than 30 representations of the hybrid female-horse character dominating the paintings from 1950.
By the end of 1949, Wifredo Lam’s artistic might had advanced throughout Europe and the Americas; he was at this point an artistic tour-de-force within the art establishment: he was preparing his fifth solo exhibition at Pierre Matisse Gallery, and his works were regularly featured in group and solo exhibitions organized by Galerie Maeght, Paris, the Institute of Contemporary Art London, and Sidney Janis Gallery. Almost a decade before, in 1938, Wifredo Lam arrived in Paris. During his tenure there, he studied with Picasso and met leading Surrealist poets and writers like André Bréton. Early exposure to these creatives resulted in outstanding collaborations to the twentieth-century poetic and artistic canon. In 1976, Lam conceived a series of twelve lithographs to accompany the short story El ultimo viaje del buque fantasma (The Last Journey of the Ghost Ship) by Gabriel García Márquez. Lam deeply admired his poet contemporaries and commented 'I have never created pictures in terms of a symbolic tradition, but always on the basis of a poetic excitation. I believe in Poetry. For me it is the great conquest of mankind.' (ibid., p. 17)."
The lot has an estimate of $800,000 to $1,200,000. It sold for $1,580,000.
Lot 156, "Arlequin a la clarinette," by Jacques Lipchitz, bronze, 28 1/2 inches high, 1919, numbered 7/7
Lot 156 is a fine bronze by Jacques Lipchitz (1891-1973) entitled "Arlequin a la clarinette." It is 28 1/2 inches high and was conceived in 1919 and is numbered 7/7
The catalogue provides the following commentary:
"Conceived ten years after Lipchitz’s arrival in Paris, Arlequin à la clarinette exemplifies
his exploration of Cubism in a three-dimensional medium and the
singular success the artist had in synthesizing the revolutionary
artistic movement in sculptural form. Born in Lithuania, the young
Lipchitz moved to Paris in 1909 to receive a traditional and highly
academic artistic education at the École des Beaux-Arts and the
Académie Julian. An encounter with Picasso, however, persuaded Lipchitz
to abandon the classical representation of human form. In 1916,
Lipchitz signed a contract with the dealer Léonce Rosenberg, who also
represented Picasso, Braque, Gris and Rivera. This placed him in the
pantheon of 'true Cubists' and at the forefront of Cubist sculpture.
Rosenberg arranged to pay Lipchitz three hundred francs a month and
cover his expenses in exchange for his sculptural production. For the
first time in his life, the artist had some sense of financial
security; he was at liberty to work in stone and cast in bronze as well.
"The artist’s interest in the stock characters of the Commedia dell’arte reflected the trends of the early avant-garde in Paris. Cézanne invoked the Pierrot in important paintings of the late 1880s while both characters appear throughout Picasso's oeuvre, especially his masterworks of the Blue Period. As Lipchitz himself described: 'We may have been attracted to them originally because of their gay traditional costumes, involving many different colored areas' (Jacques Lipchitz, My Life in Sculpture, New York, 1972, p. 58). Like many other artists during and immediately following World War I, Lipchitz was thinking in terms of a classicizing principle, the rappel à l’ordre. Among others, Jean Cocteau had influentially advocated a 'return' during these years to the sculpturally solid forms found in classical art. The inspiration, Lipchitz maintained, came from eighteenth-century painting, and in particular that of Watteau whose celebrated painting of a Pierrot belongs to the Musée du Louvre in Paris.
"The works that Lipchitz conceived during this period of intense creativity were the result of his wrestling with the problem of deconstructing form using a medium that was inherently solid. With their geometricized bodies twisting and turning in space, the present work and its companion sculptures exemplify the complexity of his task. His faceting of the planar elements in Arlequin à la clarinette is both highly technical and aesthetically nuanced. Yet the fragmented forms also build up the structure of the figure in a manner that is unambiguous, with the intricate staging of positive and negative shapes allowing for a remarkable play of light. We can identify the subject as a harlequin due to his distinctive costume, in particular the wide-rimmed collar that frames his face, his jaunty hat and the buttons that run diagonally down his bust."
The lot has an estimate of $500,000 to $700,000. It sold for $680,000.
"The remarkable creativity evidenced in the work of Remedios Varo stands as some of the most significant contributions to the story of Surrealism. The complex matrix of influences that serve as the foundational architecture and iconography for her paintings—from medieval history and Greek mythology to scientific reason and alchemy, nature, and pagan practices—is uniquely her own. While Varo’s reality is abundant with fantasia, she presents her fantastic pictorial universe within the sobering realities of her past. The outpouring of works she produced during the 'last ten years of her life presents a coherent study of her preoccupations in those years: as an émigré uprooted and exiled from her homeland of Spain, she embarked on a pilgrimage, both psychological and spiritual, to establish deeper, more reliable roots and to seek control by creating a world of her own design.” (Janet A. Kaplan, Unexpected Journeys, The Art and Life of Remedios Varo,” New York, 1988, p. 147)
in 1962, L’École buissonnière
(hacienda novillos) is an essential example of Varo’s
complex visual lexicon. Grounding the extraordinary into the ordinary,
she invites viewers into a world within the context of daily
experience, filling her paintings with self-referential characters who
are abstracted, metaphoric, ironic. “Placed in a variety of
situations—some related to her life experience, others purely
invented—they become symbolic equivalents of the artist herself.”
(ibid, p. 147) Varo had a strict and traditional Catholic upbringing,
receiving her education in a convent school run by strict nuns in
Madrid. Unsatisfied by this world of routine and religious convention,
the young Varo sought out acts of rebellion, indulging her fascination
with the occult by secretly writing to a Hindu yogi and collecting
magic plants. Her interest in the fanciful was further spurred by trips
to the Prado Museum with her father, where she would obsess over the
entrancing painting of Hieronymous Bosch....At first awed by his
macabre sense of humor, she later took careful note of the devices the
Flemish master used to create a world so absurd yet to strangely
plausible. (ibid, p. 193) Later on as a young, unmarried woman in 1920s
Spain, she found herself restricted by the conservative social codes of
Spanish society of the time. As a consequence, she turned her physical
restlessness toward spiritual pursuits, studying mystic disciplines and
reading metaphysical texts such as the writings of G.I. Gurdjieff, P.D.
Ouspensky and Helena Blavastky among others. Eventually, while a
student at Madrid’s prestigious Academia de San Fernando, the wave of
the Surrealist movement from France was beginning to seep into the
intellectual and artistic rhythms of Spain. Varo was immediately
allured by the Surrealist ethos of the omnipotence of the dream.
Surrealism for her offered the ultimate physical escape, a bohemian
lifestyle of adventure she longed for, eventually marrying the
surrealist poet Benjamin Péret moving to Paris and then settleing in
"L’École buissonnière (haciendo novillos) embodies Varo’s lifelong pursuit for freedom and ascension to a world of special, divine knowledge. Literally translating to “school in the bush”, and colloquially as “playing hooky”, Varo presents us with a youth who has snuck away to the forest in pursuit of accessing the secret connections between the human and otherworldly. Creating a scene of extraordinary subtlety, Varo utilizes elements of the natural world to harken cultural traditions of initiatory ceremonies to mark a child’s transition to adulthood. Specifically here she likely refers to those of the indigenous tribes of the Northwest Coast of British Columbia intensely studied by fellow Surrealist émigrés Wolfgang Paalen, Alice Rahon, and Kurt Seligmann, that begin with the separation of children from their families and enter the sacred forest where candidates are instructed in the secrets of their tribe. As is commonplace in her oeuvre, Varo sets this scene in a quiet, undisturbed place, in this instance a secluded enclave of the forest—a location often used in occult ceremonies, and here by Varo as an active protagonist for the ceremonial practice to come. The child encounters a looming monumental tower, where an owl, fox and raven await as otherworldly messengers and guides; composing a striking resemblance to Bosch’s The Tree has Ears and the Field has Eyes (executed circa 1500)....The quest of the child suddenly becomes a journey of mystical revelation and spiritual awe."
lot has an estimate of $800,000 to $1,200,000. It sold for $1,460,000.
The City Review article on the
Fall 2012 Impressionist & Modern
Art auction at Sotheby's New York
See The City Review article on the Fall 2012 Impressionist & Modern Art day auction at Sotheby's New York
See The City Review article on the Spring 2012 Impressionist & Modern Art auction at Sotheby's
See The City Review article on the Spring 2012 Impressionist & Modern Art auction at Christie's
See The City Review article on the Fall 2011 Impressionist & Modern Art auction at Sotheby's
See The City Review article on the Fall 2011 Impressionist & Modern Art auction at Christie's
See The City Review article on the Spring 2011 Impressionist & Modern Art auction at Sotheby's
See The City Review article on the Spring 2011 Impressionist & Modern Art auction at Christie's
See The City Review article on the Fall 2010 Impressionist & Modern Art evening auction at Sotheby's
See The City Review article on the Fall 2010 Impressionist & Modern Art evening auction at Christie's
See The City Review article on the Spring 2010 Impressionist & Modern Art evening auction at Sotheby's
See The City Review article on the Spring 2010 Impressionist & Modern Art evening auction at Christie's
See The City Review article on the Fall 2009 Impressionist & Modern Art evening auction at Sotheby's
See The City Review article on the Fall 2009 Impressionist & Modern Art evening auction at Christie's
See The City Review article on the Spring 2009 Impressionist & Modern Art evening auction at Sotheby's
See The City Review article on the Spring 2009 Impressionist & Modern Art evening auction at Christie's
See The City Review article on the Fall 2008 Impressionist & Modern Art evening auction at Christie's
See The City Review article on the Fall 2008 Impressionist & Modern Art evening auction at Sotheby's