On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Christie’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’s revenues from the sale, whether or not the third party is a successful bidder. The third party may bid for the lot and may or may not have knowledge of the reserves. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss.
Christie’s guarantee of a minimum price for this lot has been fully financed through third parties
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Ambroise Vollard, Paris.
Cornelis Hoogendijk, Amsterdam.
Paul Rosenberg, Paris.
Charles Vignier, Paris.
Marius de Zayas, Paris & New York.
Lillie P. Bliss, New York, by whom acquired from the above.
Museum of Modern Art, New York, a bequest from the above in 1931
Anonymous sale, Parke-Bernet Galleries, New York, 11 May 1944, lot 77.
Mr & Mrs Jacques Helft, New York, by whom acquired by 1947.
M. Knoedler & Co., Inc., New York.
Mr & Mrs Charles S. Payson, New York, and thence by descent; sale, Sotheby's, London, 5 February 2008, lot 35.
Acquired at the above sale by the present owner.
THE PROPERTY OF A GENTLEMAN
G. Pène duBois, 'The Lillie P. Bliss Collection', in Arts, June 1931, p. 610.
L. Venturi, Cézanne, Son art - son oeuvre, vol. I, Paris, 1936, no. 349, p. 141 (dated '1879-1882'; illustrated vol. II, no. 349, pl. 97).
A.H. Barr, Painting and Sculpture in the Museum of Modern Art, New York, 1942, p. 30, no. 86.
A. Gatto & S. Orienti, L'Opera completa di Cézanne, Milan, 1970, no. 464 (illustrated p. 108; dated '1879-1882').
H. Henkels, Bulletin van het Rijksmuseum, vol. 41, no. 3-4, Amsterdam, 1993, fig. 163 (illustrated p. 261).
J. Rewald, The Paintings of Paul Cézanne, A Catalogue Raisonné, vol. I, New York & London, 1996, no. 347, p. 232 (illustrated vol. II, no. 347, p. 109).
New York, Brooklyn Academy of Arts and Sciences, Summer Exhibition, 1926.
New York, The Museum of Modern Art, Memorial Exhibition, The Collection of the Late Miss Lillie P. Bliss, May - September 1931, no. 3 (illustrated; titled 'Fruit and Knife'); this exhibition later travelled to Massachusetts, Addison Gallery of American Art and Indianapolis, John Herron Art Institute.
Philadelphia, Pennsylvania Museum of Art, Works by Cézanne, November - December 1934, no. 6 (dated '1876-1878').
New York, The Museum of Modern Art, The Lillie P. Bliss Collection, 1934, no. 6 (illustrated; dated '1876-1878').
New York, Arnold Seligmann-Helft Galleries, French still life from Chardin to Cézanne; loan exhibition for the benefit of the Quaker Emergency Service, October - November 1947, no. 4 (dated 'circa 1880').
London, Lefevre Gallery, XIX and XX Century French Paintings, October - November 1957, no. 2 (illustrated; dated '1879-1882').
Kyoto, Municipal Museum, The Joan Whitney Payson Collection, from Goya to Wyeth, September - October 1980, no. 36 (illustrated); this exhibition later travelled to Tokyo, Isetan Museum of Art.
Washington, DC, The Phillips Collection, Impressionist Still Life, September 2001 - January 2002, no. 47; this exhibition later travelled to Boston, Museum of Fine Arts.