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signed and dated ‘A. Gri 20’ (lower left) oil on canvas 95.5 x 72 cm 1920 Provenance: Artist’s studio; Acquired directly from the artist late 1950s–early 1960s; Thence by descent; Private collection, Norway; Private collection, Europe (+) All lots marked with the symbol are under temporary importation and are subject to 5.5% import tax (EU) and administrative customs broker fees

Carte d’invitation imprimée par Zale S. Koff Graphics, Inc. pour l’ouverture de l’exposition d’Andy Warhol ‘SENATOR EDWARD KENNEDY’ le 3 mars 1980 avec le dessin fait par l’artiste DOLLAR SIGN (à gauche) signé par l’artiste au crayon ‘Andy Warhol’ (le long du bord gauche) 17,5 x 24 cm Provenance : Collection privé

signé par l’artiste au marqueur blanc «Andy Warhol» numéroté ‘421549’ par Andy Warhol Collection/ Sotheby’s New York et vérification de l’authenticité par hologramme/ www.graphy.blog’ ; cachets : «AW Authorized by Andy Warhol Foundation for the Visual Arts» et «The Estate of Andy Warhol» (au dos). billet de banque 7 x 13 cm (à vue) Provenance : Collection privée

signé par l’artiste au crayon ‘Andy Warhol’ (en bas à droite) sérigraphie sur papier 25,5 x 20 cm 1982 Littérature : « Andy Warhol. L’Alchimista degli anni sessanta/ L’Alchimiste des années soixante, catalogue de l’exposition organisée par Maurizio Vanni, Reggia di Monza, 2019, p. 265. Cértificat d’autenticité par www.rareandsigned.com la plaque de sérigraphie pourrait être la même que celle que l’imprimeur de l’époque (Rupert Jasen Smith) a utilisée pour exécuter ‘Dollar Signs’ 20 x 25 cm sur toile de Warhol en 1981 - 1982

signé par l’artiste au crayon ‘Andy Warhol’ (en bas à droite) sérigraphie sur papier 25,5 x 20 cm 1982 Littérature : « Andy Warhol. L’Alchimista degli anni sessanta/ L’Alchimiste des années soixante, catalogue de l’exposition organisée par Maurizio Vanni, Reggia di Monza, 2019, p. 264. Cértificat d’autenticité par www.rareandsigned.com La plaque de sérigraphie pourrait être la même que celle que l’imprimeur de l’époque (Rupert Jasen Smith) a utilisée pour exécuter ‘Dollar Signs’ 20 x 25 cm sur toile de Warhol en 1981 - 1982

signée par l’artiste au marqueur noir ‘Andy Warhol’ (au milieu et au dos), dessin du dollar fait par l’artiste (au dos) 13 x 15.5 cm Provenance : Collection privée, USA

Bouteille de Coca-Cola en verre, peinte à la bombe d’argent initiales de l’artiste à l’encre noire «A. W.» (sur le bouchon) Hauteur 25 cm circa 1967 Provenance : Collection privée Warhol a réalisé le projet ‘You’re In’ (Vous y êtes) en 1967 en remplissant des bouteilles de Coca avec une eau de Cologne bon marché appelée ‘Silver Lining’. Le projet a fait ses débuts sur une affiche pour une exposition au Museum of Merchandise, qui annonçait que les bouteilles étaient remplies d’eau des toilettes et s’intitulait malicieusement «You’re In». En suggérant que cette bouteille de Coca-Cola était remplie d’urine, Warhol semblait diffamer le produit que tous les Américains utilisaient au quotidien: dans son livre de 1975 intitulé ‘The Philosophy of Andy Warhol’, il proclame: ‘Le président boit du Coca-Cola, Liz Taylor boit du Coca-Cola, et pensez-y, vous pouvez aussi boire du Coca-Cola’. Le projet «You’re In» a vite déclenché un scandale de la part de Coca Cola entrainant l’obligation de l’abandonner. Cette œuvre résume la capacité profonde et inégalée de Warhol à conserver et à détruire l’identité commerciale de l’objet quotidien.

signé par l’artiste au marqueur noir ‘Andy Warhol’ (sur l’étiquette) boîte de conserve en métal (fermée) Hauteur 10 cm, diamètre 6,5 cm 1964 Provenance : Collection privée, Allemagne Littérature de référence: ‘Andy Warhol. Vetrine’, Achille Bonito Oliva, Ed. Silvana Editoriale, 2015, p. 221

guitare électrique avec corps noir et pickguard blanc signé par Michael Jackson devant l’hôtel Lanesborough à Londres en mars 2009 (sur le pickguard) 98 x 34 cm circa circa 1954 Certificat d’autenticité par Andrew Holland (Londres, UK) Publication: « Made in USA by Andy Warhol «, catalogue de l’exposition organisée par Graziano Menolascina, Bari (Italie), 2016 - 2017. Chapeau de feutre noir signé et dédicacé par Michel Jackson : « All my Love/Thank « (sur le bord intérieur) Provenance : Collection privée

signé ‘T. Blau’ (en bas à droite) huile sur toile 44 x 32.5 cm

signé ‘T. Blau’ (en bas à droite) huile sur toile 31 x 40.6 cm

signed (lower left) oil on canvas 63 x 116.5 cm 1920s Paul Chmaroff always felt a connection with his homeland upon emigrating from revolutionary Russia to Paris in 1924. He expressed his reminiscences in a series of genre paintings of peasant life. They are unified by a single style, with large and dense strokes, sophisticated colours, and a spirit that affirms the joy of life and celebrates the beauty of a Slavic woman. Paul Chmaroff's “peasants” were popular at Paris exhibitions in the mid-20th century. An impressionist glow of light and colour emantes from this painting. The artist fills the space with the sunshine and the air, creating local spots of colour: light pink and cadmium yellow on the skirts and white on the sleeves of the peasant women. Three shawls on their heads are particularly expressive, like three strokes of colour: cadmium red, golden ochre and grass green. Paul Chmaroff had a particular sense of colour and ability to use oil paints in such a way that the neighbouring colours, though pure and self-sufficient, formed a dazzling symphony in combination with one another. An incredible synthesis is developed by the artist, where a peaceful scene, femininity and the impressionist manner harmoniously complete each other. It is a silent conversation between two cultures. It should be mentioned that the painter used several versions of his signature on the canvases (Chmaroff, P. Chmaroff, Schmarov, Shmarov). On this picture he signed "Schmarov" in the upper right corner.

signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm

signed ‘M. Lindenau’ (lower right) oil on canvas 100 x 100 cm

signed ‘M. Lindenau’ (lower left), titled (on the reverse) oil on canvas 89 x 130 cm

Bronze, brown patina Signed and numbered on the base: ‘Rodin 8/8’ Foundry stamp of the Fonderie de Coubertin. Conceived in 1871, the present work is a posthumous casting made in 1992. Edition of 12 copies numbered from 1/8 to 8/8 and from I/IV to IV/IV. 28.5 x 24.5 x 20 cm With a certificate of authenticity from the Comité Auguste Rodin, Paris, 11 July 2007. The work is registered there under the number 2007VII93B and will be included in the Catalogue Critique de l’oeuvre Sculpté d’Auguste Rodin.

signed, inscribed and dated ‘A Lebourg Paris Dec 79’ (lower left), inscribed ‘Notre Dame Vue prise du Pont de la Tournelle’ (lower right) oil on canvas 64 x 92 cm Painted in Paris in 1879 French impressionist painter Albert Marie LEBOURG (1849-1928) studied at the Ecole des Beaux Arts of Rouen. Lebourg was close friends with Victor Delamare and Gustave Morin, and started drawing with charcoal and painting by the Seine in his hometown – Montfort- sur-Risle. As a professor in Algiers around 1875, he was astonished by his surroundings and focused on the exploration of colour and light. He discovered the white city with its nuances of various shades. With his distinctive brushstroke, he started to paint winter views dominated by the color white, like this snowy view of Notre Dame, signed and dated on the lower left — a good representation of his style, featuring different soft shades of white pastel colors.

oil on canvas 173 x 123 cm Provenance: Private collection, Italy Luca Giordano was an Italian late-Baroque painter. Born in Naples, Luca Giordano studied in Rome, Parma and Venice and developed an elaborate Baroque style fusing Venetian and Roman influences. From 1692 to 1702 Giordano served as court painter to King Charles II of Spain decorating, among other important works, the ceilings of the Escorial, the Cathedral of Toledo, and the Buen Retiro in Madrid.Considered the leading Neapolitan painter of the 17th century, his work influenced many other artists in Italy, and he had many pupils and followers. His paintings express the drama of religious and mytholo- gical subjects in large-scale canvases and frescoes.The present grand scale painting is a representation of a biblical narrative from chapter 13 of the Book of Daniel: two elderly men are shown spying on a young married woman named Susanna. Susanna was taking a bath in her garden when the two elders came in. The elders spied on Susanna and then de-manded sexual favors from her, which she refused. To take revenge, the men decided to ruin Susanna’s reputation and falsely accused her of adultery - a crime which was punishable by stoning. The young Daniel decided to help Susanna, he questioned the elders separately, and observed that details in the two elders’ stories did not match up. Their conflicting stories revealed the falsehood of their testimony, thus clearing Susanna’s name.The subject was relatively common in European art from the 16th century with Susanna exemplifying the virtues of modesty and fidelity. In practice however, it allowed artists the opportunity to display their skill in the depiction of female nudes, often for the pleasure of their male patrons.

oil on canvas 45,7 x 65,5 cm Painted circa 1615-1616 Provenance: Private collection, Italy Expertise: Professor Maurizio Marini According to Professor Maurizio Marini, the present work is one of four paintings executed by Antonio Carracci depicting four episodes of a famous fable. In this fable, a man and his son are accompanied by their donkey and meet constant criticism from passers-by for how they treat the donkey for leaving the elderly walking by (representing egosim of a child), or the young son walking along, for not riding it, or for overburdening their beast, when they both ride the donkey. The story’s purpose is to show that eve-ryone has their own opinion and there is no way one can satisfy all. The location of three other paintings is now unknown. This painting, as Professor Marini suggested, could be dated 1615-1616, the artist’s most significant period, when he executed the frescoes in the Church of San Bartolomeo in Rome, on the Tiber Island between 1612 and 1614.Born in Venice, Antonio was the son of the artist Agostino Carracci and a Venetian courtesan, Isabella. He first apprenticed with his father. When his father died, Antonio moved to Rome to work under his uncle Annibale from 1602 until 1609, and for whom he may have worked with other studio assistants on the frescoes in the Galleria Farnese. Later, he made a short visit to Bologna to join the workshop of Ludovico Carracci, and returned to Rome in 1610 to work with Guido Reni.In Rome, Antonio executed many important commissions, such as the decoration of three chapels in S. Barolomeo all’Isola and a fresco in one of the rooms of the Pope’s palace at Monte Cavallo commissioned by Cardinal Michelangelo Tonti, the frescoes of the Galleria Farnese.

signed with initials (lower right), label of Max Protetch Gallery (on reverse) screenprints with handcolouring Edition of 250, series of 10 103.2 × 69.2 cm Provenance: Max Protetch, USA Acquired from the above from the present owner, USA-Europe

signed ‘M. Lindenau’ (lower left); inscribed (on the reverse) oil on canvas 81 x 60 cm

signed in Farsi and English ‘JAZEH TABATABAI’ (lower right and left) watercolour, ink and gold paint on paper 49 x 35 cm Born in 1931 in Tehran, Jazeh Tabatabai (Ali Tabatabai) was an Iranian avant-garde painter, sculptor, poet, and writer. He started writing when he was twelve. He wrote folklore stories, novels, poems, art critic and plays. He graduated from the ballet academy in 1950. Ten years later, at the age of twenty-nine, he completed his painting course at the Faculty of Fine Arts at the University of Tehran. The following year he established the Iran’s Modern Art Gallery, the first art gallery in Iran. Jazz Tabatabai’s works are held in many museums and art collections around the world, including the Louvre and Metropolitan Museum of Art, and have been part of the Biennials of Paris, Sao Paulo, Venice.

signed in pencil (lower right) and numbered 99/300 (lower left) serigraph in colors 57.5 x 54.5 cm

signed in pencil (lower right) and numbered 86/250 (lower left) serigraph in colors 57.5 x 54.5 cm

signed in pencil ‘Picasso’ (lower right), numbered ‘50/300’ (lower left), inscribed ‘Piquè/Ed. Cercle d’Art Paris 1962’ (on the reverse) original linocut 37.6 x 31.6 cm edition 50/300 1962

signed and dated (lower left) oil on canvas 110 x 53 cm Painted in 1976 Fatima Hassan El Farouj was a Moroccan painter. Classified in the category of naïve art, self-taught with no academic or artistic training, painting was for her a means of expression and a hobby. The expressions are fresh, infantile, naive, simple with a lot of narration like a storyteller and no logic in dimensions, forms, and perspectives. She grew up in a popular setting in the north of Morocco and practiced like other girls and women of her age embroidery, weaving, sewing and henna tattooing. All these moments of traditional learning were a source of inspiration for her. Her paintings are a testimony to the great celebrations and rituals of the women’s world of the 1950s.

signed and dated ‘Olle Hjortzberg 48’ (lower right) oil on board 60 x 73 cm Painted in 1948

signed and dated ‘Olle Hjortzberg 54’ (lower left) oil on canvas 46 x 38 cm Painted in 1954

signed ‘Vera Rockline’ (lower right) oil on canvas 53.5 x 70 cm ⊕ This lot is under temporary importation and is subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘Molinario’ (lower left) oil on panel 46.5 x 64.5 cm

signed in Cyrillic and dated 1858 (lower right) oil on canvas 41 x 33 cm painted in 1858 Provenance: from a private collection of the merchant and art collector in Russia, acquired before 1905 The present work is included in the numbered archive of the artist’s work compiled by Gianni Caffiero and Ivan Samarine.

signed ‘Ph. Maliavine’ (lower right)  oil on canvas 79 x 54 cm circa 1925. Provenance: Private collection, London Exhibited: Russes, Musée de Montmartre, Paris, 2003, Fragments Editions, Paris, 20 June – 21 September 2003, p.11 Literature: Russes, Musée de Montmartre, Paris, 2003, Exh cat. Fragments Editions, Paris, 20 June – 21 September 2003, p.11 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed (lower right) pencil on paper 15.4 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 224 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed with initials in Cyrillic ‘М Л’ (lower left) pencil on paper 15.3 x 9.5 cm circa 1910-1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 225 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed with initials in Cyrillic ‘М Л’ (lower right) pencil on paper 16.5 x 23 cm circa 1910 -1912 Provenance: Sotheby’s London: Impressionist & Modern Art, 20th c. Russian & Avant­Garde, May 18, 1988, lot 223 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed and dated in Cyrillic ‘Б. Кустодiевъ 1919’ (lower right) oil on cardboard 17.5 x 22 cm 1919 Provenance: Private collection, Europe; Private collection, London Certificate of Authenticity by Scientific and research independent expertise named after P.M. Tretyakov, Expert’s report ОЖ 4482, 08.02.2013 In 1919, when Boris Kustodiev was painting “The Village Fair”, he was confined to a wheelchair and was constantly in his studio. Nevertheless, it was during this period that he created some of his most life-affirming and joyful works. As Vsevolod Voinov writes in his 1925 monograph, «...perhaps more than any of his contemporaries, the artist, immobilized by illness and at times seriously suffering, was able to affirm health and a life full of happiness, abundance and vivacity. This sense of health and the unshakable fabric of life is so natural to the artist. He depicts it with such conviction that the viewer is fully imbued with it» (V. Voinov, B.M. Kustodiev, Leningrad: State Publishing House, 1925, p.35). “The Village Fair” is a miniature incarnation of Kustodiev’s artistic universe, bringing together some of his most famous and beloved motifs. The scene is bustling with life: while the village fair is in full swing, a group of women are bathing nearby and another group is enjoying a picnic under a tree. Small, charming details further enliven the scene: a dog in the center and a coachman swinging to avoid colliding with two young children on horseback in the foreground. Kustodiev’s skill is evident in the way he conveys the mood and the rapidly changing weather. Swirls of thunderclouds sweep past, while the sun has already come out and illuminates the tree crowns, the church dome and the bell tower, and this dramatic illumination that fills the sky symbolizes the triumph of life. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘N. Gontcharowa’(along the upper edge of the central panel) watercolour, gouache, and pencil on cardboard 54 x 18.5 cm (each) 1914 Provenance: Anonymous sale; Sotheby’s, London, 5 April 1990, lot 162; with Thos. Agnew and Sons Ltd., London, nos. 32153-5 (labels on the reverse of the backboard); Property of a European Lady of Title; Christie’s, London, 3 December 2009, lot 20; Acquired at the above sale by the present owner Before World War I, Natalia Goncharova was invited by Sergei Diaghilev to create sets and costumes for the opera-ballet The Golden Cockerel (staged by Mikhail Fokin for Diaghilev’s Russian Ballet company based on the opera by Nikolai Rimsky-Korsakov). The opera-ballet premiered in Paris and London in 1914. Goncharova’s fresh approach to popular Russian art, her familiarity with contemporary French painting, and her sense of humor allowed the artist to become an intermediary between the Russian avant-garde and Western art. Nikolai Rimsky-Korsakov’s opera, based on Alexander Pushkin’s fairy tale and political satire The Golden Cockerel, inspired Goncharova to create colorful sets that established her as a leading artist and set designer. Her success paved the way for further collaborations between the Russian Ballet and such artists as Mikhail Larionov, Pablo Picasso and Henri Matisse. All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

signed ‘Pougny’ (upper right) oil on canvas on board 7 x 20 cm 1942-1943 Provenance: Collection of Georges Barany, Paris Private collection, France Auction Art Rémy Le Fur & Associés, Tableaux et sculptures impressionnistes, XIXe et modernes, 2011 Private collection Literature: Pougny, Catalogue raisonné de l’œuvre, Paris - Côte d’Azur, 1924-1956, peintures, tome 2 Herman Berninger, Editions Ernst Wasmuth, Tübingen, 1992, ill. p.198 and 199, n. 763 All lots marked with the symbol "plus (+)" are under temporary importation and are subject to import tax (5.5%) (EU) and administrative customs broker fees.

oil on canvas 61 x 61 cm 1897 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow; Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.

oil, charcoal on cardboard 72.2 x 95 cm 1899 Provenance: Collection of Natalia Borisovna Chachkhiani, Moscow (painted by the artist for the family of Nata Chachkhiani, one of the sitter); Private collection, Paris (by inheritance). Literature: Konstantin Fyodorovich Juon : Centenary since his birth 1875-1975. [Exhibition catalog / Compiled by: T.B. Vendelshtein, V.V. Vorobiev, N.V. Egorova et al] ; Soviet Art. The USSR State Russian Museum, State Tretyakov Gallery. - Moscow : Soviets Art Museum, 1976, p. 83. Exhibited: «Konstantin Fedorovich Yuon. The centenary of his birth. 1875 - 1975», State Tretyakov Gallery, Moscow; The State Russian Museum, Leningrad; National Museum of Russian Art, Kiev, 1976.

oil on canvas 110 x 140 cm circa 1930s