A sapphire and diamond necklace, by Bulgari. Estimate CHF300,000 – CHF500,000 ($325,931 - $543,219). Photo Christie's Image Ltd 2015.

Designed as two lines of alternating oval-shaped sapphires and rectangular-cut diamonds gathered by two diamond-set bows to the brilliant and baguette-cut diamond neckline, mounted in platinum and gold, 41.0 cm, in navy blue Bulgari case. Signed Bulgari 

Accompanied by report no. 15030267 dated 10 April 2015 from the Gübelin GemLab stating that the sapphires are of Burmese origin, with no indications of heating

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

A 8.64 carats Kashmir sapphire and diamond ring. Estimate CHF300,000 – CHF400,000 ($325,931 - $434,575). Photo Christie's Image Ltd 2015.

Set with an octagonal-cut sapphire, weighing approximately 8.64 carats, to the baguette-cut diamond shoulders, ring size 6, with French assay mark for platinum

Accompanied by report no. 14120152 dated 19 December 2014 from the Gübelin GemLab stating that the sapphire is of Kashmir origin, with no indications of heating, and an Appendix on 'Unheated Sapphires'

Report no. 77532 dated 25 November 2014 from the SSEF Swiss Gemmological Institute stating that the sapphire is of Kashmir origin, with no indications of heating, stating that 'the colour of this sapphire may also be called 'Royal Blue' in the trade' 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

A 7.20 carats Kashmir sapphire and diamond ring. Estimate CHF275,000 – CHF325,000 ($298,770 - $353,092). Photo Christie's Image Ltd 2015.

Set with a cushion-shaped sapphire, weighing approximately 7.20 carats, within two round-cornered rectangular-cut diamonds, weighing approximately 1.69 and 1.68 carats, to the tapered baguette-cut diamond shoulders, mounted in platinum, ring size 6¼ 

Accompanied by report no. 13105335 dated 26 October 2013 from the Gubelin GemLab Institute stating that the sapphire is of Kashmir origin, with no indications of heating 

Report no. CS 82954 dated 1 October 2013 from the AGL American Gemological Laboratories stating that the sapphire is of Kashmir origin, with no indications of heating, and a letter stating that the sapphire '.. is one of these exceptional gems, possessing outstanding examples of pargasite, tourmaline and zircon inclusions which irrefutably confirm the gem's origin' 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

A 21.07 carats Burmese sapphire and diamond ring. Estimate CHF220,000 – CHF260,000 ($239,016 - $282,474). Photo Christie's Image Ltd 2015.

Set with an oval-shaped sapphire, weighing approximately 21.07 carats, in a pear-shaped sapphire and diamond cluster, to the marquise-cut diamond shoulders, mounted in platinum, ring size 4½ 

Accompanied by report no. 74916 dated 6 June 2014 from the SSEF Swiss Gemmological Institute stating that the sapphire is of Burmese origin, with no indications of heating 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

François Morellet, Superposition de trames, 1975. © François Morellet.

«J'ai toujours cherchéà réduire au minimum mes décisions subjectives et mon intervention artisanale pour laisser agir librement mes systèmes simples, évidents et de préférence absurdes.» (François Morellet)

CAEN - Invité pour la première fois au musée des Beaux-Arts de Caen, François Morellet occupe une place très singulière sur la scène artistique française et internationale. Tout en poursuivant une activité d'industriel (jusqu'en 1975), il devient l'un des représentants majeurs de l'abstraction géométrique et, membre fondateur du Groupe de Recherches d'Art Visuel (GRAV, de 1960 à 1968), l'un des principaux protagonistes de l'art optico-cinétique.

François Morellet, Deep Dark, Light Blue n°2, 2008. Acrylique sur toile sur bois et tubes d’argon, 300 x 300 cm. © François Morellet. Photo: Gilles Vilquin

L'œuvre que François Morellet a développée au cours des soixante dernières années repose entièrement sur une conception systématique de l'art. Les règles qu'il se donne lui permettent de réduire au minimum le nombre des décisions subjectives pour laisser apparaître des formes à la fois rigoureuses et imprévisibles. Avec ce bel «Esprit de suite», qui donne son nom à l'exposition, il associe nécessités de la contrainte, interventions du hasard et jeux d'esprit. De cette rencontre naissent des œuvres pleines d'humour qui peuvent emprunter des moyens d'expression très divers: peinture, estampe, sculpture, installation, intégration architecturale, etc. 

François Morellet, 40 000 carrés, 1971. 8 sérigraphies, 80 x 80 cm chaque. Édition: Denise René, Paris. © François Morellet. Photo: Patricia Touzard

Cette exposition réunira un ensemble très significatif des éditions de François Morellet, estampes et albums produits entre 1965 et 2014, parmi lesquels les spectaculaires Emprunts. En regard de ces estampes seront présentées des pièces phares, comme la Sphère-trames (1962) ou le néon Lamentable (2006), ainsi que deux œuvres spécialement conçues pour le musée, la monumentale 3D éphémère et une Défiguration de L'enlèvement d'Hélène de Luca Giordano.

François Morellet, Sphère-trames, 1962. Acier inoxydable. Diam. 150 cm. © François Morellet. Photo: Gilles Vilqui

«Malgré l'impressionnante succession d'expositions qui ont été consacrées à François Morellet, force est de constater que ses estampes ont été montrées jusqu'à ce jour de façon plutôt parcimonieuse. Avec cent-quarante œuvres éditées entre 1965 et 2014, pour la plupart sur papier, elles constituent le fil rouge de l'exposition présentée à Caen, en même temps qu'un véritable défi tant l'approche de François Morellet dans ce domaine est singulière et paradoxale.

François Morellet, Pi et plis (rouge), 2008. 3 digigraphies. 110 x 110 cm chaque. Édition: Éric Linard, La Garde Adhémar© François Morellet. Photo: Patricia Touzard

Exposer des estampes, n'aimant ni la lumière, ni les variations climatiques, ni les manipulations maladroites, n'est jamais simple. On peut cependant passer outre et accrocher pour une période limitée des estampes au mur. Mais le faire sans passe-partout, sans cadre, en tolérant tout juste un verre ou un plexiglas protecteur, ne peut à l'évidence que compliquer les choses! Et tel est bien pourtant le souhait de François Morellet qui apprécie de pouvoir offrir à ses œuvres sur papier comme à ses peintures la suggestion de l'infini — donnée par une pratique du «all over» que nulle baguette ne saurait arrêter — ainsi que l'occasion de se fondre modestement dans le mur. […]» (Caroline Joubert)

15 mai-21 sept. 2015.  Musée des Beaux-Arts de Caen

François Morellet, Beaming π 300 (A.R. 1 = 10°), 2002. Alucobond rouge, 10 poutrelles. 300 x 15 x 15 cm chaque. Installation au musée des Beaux-Arts de Caen. © François Morellet. Photo: Gilles Vilquin

François Morellet. Portrait pour artforum. Courtesy Blain|Southern

BERLIN.- Blain|Southern is presenting DASH DASH DASH, an exhibition of new and historic works by the acclaimed French artist François Morellet. The artist has created two monumental site specific installations for the gallery’s vast 9,20 metres high and 39 metres long space in Berlin. Shortly following his 89th birthday, the exhibition is the first major display of Morellet’s work in Berlin since his 1977 solo show at the Neue Nationalgalerie.

In an unlikely pairing, Morellet manages to combine humour and playfulness with strict mathematical systems, making work which is whimsically titled, aesthetically uplifting and conceptually rich. He has worked with geometric forms throughout his long career and although he has employed a variety of media and techniques his interest in grids and planes remains constant. 

The centerpiece of this exhibition, the new site-specific 3D Bandes décimées (2015) and 3D concertant (2015) are characteristic examples. These two large-scale vinyl installations cover opposing walls in the gallery’s groundfloor space. On one wall the artist has created a repeated sequence of overlapping vertical and diagonal lines; on the other wall these are repeated in negative form, creating origami-like shapes. Morellet plays with our visual expectations; planes and lines are tilted, symmetry is disrupted and geometry is altered. The result, as with much of Morellet’s work, is playful, beautiful and challenging, inviting the observer to engage intellectually as well as aesthetically.  

François Morellet, Néons 3D : 15°-90°-50°, 2015. Courtesy Atelier Morellet and Blain|Southern.

Mounted on the outside wall of the upper exhibition space, is π Weeping Neonly (2014), an iconic Morellet work in neon. Comprised of 42 white neon lights, the work is arranged in a pattern that was determined by using the number π. The neon tubes are connected to each other by electric cables and joined to power transformers. The visibility of cables and transformers, and material in general, is an integral part of all of his works.  

The upper space has been divided into two rooms, the first housing a suite of monochrome paintings. These works are produced with the same system as the large scale installation downstairs as the titles reveal accordingly, 3D concertant. The system used for the site-specific installation is evident throughout the whole exhibition.

François Morellet, 3D concertant n°7 : 35° 90° 25°, 2014, Oil marker and acrylic on canvas on wood, 150 x 150 cm , (59⅛ x 59⅛ in). Courtesy Atelier Morellet and Blain|Southern.

The second room contains a series of ‘neon paintings’ set against painted square canvases. They are arranged according to the lines and stripes of the monochrome paintings in the first room. Since 2005, Morellet has produced the series Strip-teasing in which the artist explores his interest in the ratios of lines. Lines can adopt different appearances depending on the medium in which they are executed: pencil, stripes, neon tubes or the demarcation line created by different colored surfaces. In Strip-teasing sur la pointe trames 75°-165°, 100°-190° (2006) the lines are painted as thick black stripes on one side and on the other in fine thin lines. While the thick stripes fill the most part of the canvas, the thin lines appear almost dematerialized. In 4 à 4 bleu toile brute (2012), the four neon tubes are fragments of two squares of the exact same size as the raw canvas on which they are set. Although the arrangement of the neon tubes appears random, the artist used a grid and the number πas a guideline for the composition.

Exhibition Installation. Photo: Christian Gläser.Courtesy Blain|Southern

An exceptional 55.52 carats unmounted Type IIa diamond. Estimate CHF8,500,000 – CHF10,500,000 ($9,234,715 - $11,407,590). Photo Christie's Image Ltd 2015. 

The pear-shaped diamond weighing approximately 55.52 carats, in red leather fitted case 

Accompanied by report no. 1162568312 dated 24 October 2014 from the GIA Gemological Institute of America stating that the diamond is D colour, Flawless clarity, with Excellent Polish and Excellent Symmetry and a Diamond Type Classification letter stating that the diamond is Type IIa

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

An exceptional 21.75 carats Type IIa diamond ring, by Mitsuo Kaji. Estimate CHF8,500,000 – CHF10,500,000($9,234,715 - $11,407,590). Photo Christie's Image Ltd 2015.

Set with an Ashoka-cut diamond, weighing approximately 21.75 carats, to the fancy-cut diamond shoulders and pavé-set diamond hoop, mounted in platinum, ring size 7¼, in brown leather Kaji case  With maker's mark for Mitsuo Kaji 

Accompanied by report no. 11191064 dated 27 February 2015 from the GIA Gemological Institute of America stating that the diamond is D colour, Flawless clarity, and a Diamond Type Classification letter stating that the diamond is Type IIa, 'IG Ashoka' and 'GIA 11191064' laser inscribed on the girdle 

Report no. 0302240 dated 7 December 2007 (duplicate of the original report dated 5 March 2003), from the Gübelin GemLab stating that the diamond is D colour, Flawless clarity, a Note stating that the diamond is Type IIa and an Appendix saying that 'The diamond of 21.75 carats possesses a purity of colour and degree of transparency which are particular to the finest of natural colour Type IIa diamonds.' 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

A spectacular 36.55 carats diamond pendant. Estimate CHF2,600,000 – CHF3,000,000  ($2,824,736 - $3,259,311). Photo Christie's Image Ltd 2015. 

Set with a brilliant-cut diamond, weighing approximately 36.55 carats, to the fine link chain, mounted in gold, 50.0 cm

Accompanied by report no. 2165840543 dated 23 January 2015 from the GIA Gemological Institute of America stating that the diamond is F colour, Internally Flawless clarity 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

An exceptional 27.49 carats Type IIa diamond ring. Estimate CHF2,600,000 – CHF3,000,000  ($2,824,736 - $3,259,311). Photo Christie's Image Ltd 2015.

Set with a rectangular step-cut diamond, weighing approximately 27.49 carats, to the shield-shaped diamond shoulders, mounted in gold, ring size 4¼ 

Accompanied by report no. 11045499 dated 18 August 2014 from the GIA Gemological Institute of America stating that the diamond is D colour, SI1 clarity, and a Diamond Type Classification letter stating that the diamond is Type IIa 

Provenance: Christie's New York, Magnificent Jewels, 10-11 April 2000, lot 528 

Christie's. MAGNIFICENT JEWELS, 13 May 2015, Geneva

Property of Baroness Thyssen-Bornemisza. The Maria Christina Royal Devant-de-Corsage Brooch, circa 1879. Estimate CHF1,500,000 – CHF2,500,000  ($1,629,656 - $2,716,093). Photo Christie's Image Ltd 2015.

The brooch designed as a very large openwork palmette with foliate and scrolling motifs, suspending an oval-shaped bombé pendant, set throughout with old-cut diamonds, mounted in silver and gold, circa 1879, 20.0 cm 

‘Dear, charming Queen Christine whom I hope we shall see again… She is deservedly very popular and does her duty so admirably and has won the esteem and respect in all of Spain, though a foreigner.’Extract from ‘The letters of Queen Victoria’, describing her meeting with Queen Maria Christina in 1889

Notes: It is the tradition of the great European Royal houses to have generated country alliances through timely wedlocks. But despite the efforts, more or less important, from both parties, it is clear that the alchemy is often more complicated to obtain than a signature on a marriage contract, and many kings and queens consorts have had trouble being accepted by their adopted country.

Pablo Picasso (1881-1973), Les femmes d'Alger (Version 'O'), signed 'Picasso' (upper right); dated '14.2.55.' (on the reverse), oil on canvas, 44 7/8 x 57 5/8 in. (114 x 146.4 cm.). Painted on 14 February 1955. Estimate Upon Request. Price Realized $179,365,000. © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. 

NEW YORK (AFP).- A Picasso masterpiece fetched more than $179 million in New York on Monday, smashing the world record for the most expensive art sold at auction in what was dubbed the "sale of the century." 

The oil painting, "The Women of Algiers (Version 0)," sold for $179,365,000 after more than 11 minutes of furious bidding from telephone buyers at a packed auction room at Christie's. 

Applause erupted when the sale was finalized in an atmosphere of feverish excitement, accompanied by laughter and jokes, fetching way over its pre-sale estimate of $140 million. 

The previous world record for a painting sold at auction was $142.4 million, set for British painter Francis Bacon's "Three Studies of Lucian Freud," which was sold by Christie's in New York in 2013. 

The 1955 painting by Pablo Picasso is one of the last major paintings by the Spanish master still in private hands. He painted several versions until he settled on the nearly four-by-five-foot (121-by-152-centimeter) canvas. 

Alberto Giacometti (1901-1966), L'homme au doigt(Pointing Man), signed and numbered 'A Giacometti 6/6' (on the top of the base); inscribed with foundry mark 'Alexis Rudier Fondeur Paris' (on the back of the base),bronze with patina and hand-painted by the artist. Height: 69 7/8 in. (177.5 cm.). Conceived in 1947. Estimate Upon Request. Price Realized $141,285,000. © The Estate of Alberto Giacometti (Fondation Giacometti, Paris and ADAGP, Paris), licensed in the UK by ACS and DACS, London 2015. © 2015 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York.

A rival highlight of the evening sale is a bronze statue by Alberto Giacometti called "Man Pointing," estimated to be worth $130 million, which has also been tipped as a potential record breaker. 

"Those two works can set a world record," Loic Gouzer, senior vice president of Christie's, said ahead of Monday's auction. 

"You don't have another chance to get them." 

Swiss sculptor Giacometti already holds the record for the most expensive sculpture sold at auction with his "Walking Man I" fetching $104.3 million in London in 2010. 

Christie's is offering a total of 35 lots spanning more than a century from 1902 to 2011, and expected to score in excess of $500 million at its swanky New York premises at Rockefeller Plaza.

Other highlights are Picasso's "Buste de femme" oil painting, valued at $55 million, a painting from Claude Monet's "The House of Parliament" series, valued at $35 to $45 million, and Mark Rothko's 1958 "No 36, Black Stripe," with an estimated value of $30-$50 million. 

Pablo Picasso (1881-1973), Buste de femme (Femme à la résille), dated '12.1.38.' (on the stretcher), oil on canvas, 25 5/8 x 21 ¼ in. (65.1 x 54 cm.). Painted in Paris on 12 January 1938. Estimate Upon Request. Price Realized $67,365,000. © 2015 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Claude Monet (1840-1926), Le Parlement, soleil couchant (The Houses of Parliament, at Sunset), signed and dated 'Claude Monet 1902' (lower left),oil on canvas, 32 x 36 5/8 in. (81.3 x 93 cm.). Painted in 1900-1901. Estimate 35,000,000 - $45,000,000. Price Realized $40,485,000. Photo Christie's Image Ltd 2015 

Mark Rothko (1903-1970), No. 36 (Black Stripe), signed, titled and dated 'MARK ROTHKO #36 - 1958' (on the reverse), oil on canvas, 61 7/8 x 67 in. (157.1 x 170.1 cm.). Painted in 1958. Estimate 30,000,000 - $50,000,000. Price Realized $40,485,000. 

Exponential growth in the art market, particularly for modern and contemporary works, is attributed to a growing number of private investors around the world and burgeoning interest in Asia and the Gulf. 

Sale of the century  
The proceeds from public art auctions rose 26 percent from $12.05 billion in 2013 to $15.2 billion in 2014, and grew 422 percent between 2000 and 2014, according to Artprice, a leader in art market information. 

Artprice CEO Thierry Ehrmann told AFP that interest would be particularly strong for the Giacometti statue, which it believed could go as high as $175 to $200 million and eclipse the Picasso. 

"This will be the sale of the century," said Ehrmann. "It's a tipping point in the history of art." 

There are only six casts in the world of "Man Pointing," which shows a wiry, nearly six-foot (1.8-meter) man holding up one hand and pointing with the other. 

New York's spring auction season began last week at Sotheby's, which sold a Vincent van Gogh painting for more than $66 million, the most paid for a work by the Dutch post-impressionist since 1998. 

Van Gogh's "Les Alyscamps," which depicts a stand of autumnal trees, had been expected to go for around $40 million but was finally snapped up by an Asian collector after an intense bidding war. 

The sales continue on Tuesday, Wednesday and Thursday. 

Artprice says the art market offers yields of 10 to 15 percent per year for works valued at over $100,000. 

But even if auction records are broken Monday, the Picasso and Giacometti are unlikely to eclipse the $300 million reportedly paid privately by Qatar for Paul Gauguin's 1892 painting "When Will You Marry?" in February. 

By: Jennie Matthew © 1994-2015 Agence France-Presse

Jussi Pylkkanen, president of Christie's, takes bids at an auction for the art work, "Les femmes d'Alger (Version O)" painted by Pablo Picasso, at Christie's on May 11, 2015 in New York City. The painting sold for a record-breaking $179,365,000, making it the most expensive painting ever sold. Andrew Burton/Getty Images/AFP.

Bids are taken on the Picasso masterpiece "Les Femmes d'Alger (Version O)" at Christie's in New York City on May 11, 2015, which went for USD 179.3 million, smashing the record for most expensive art sold at auction, way over its pre-sale estimate of USD 140 million. AFP PHOTO / TIMOTHY A. CLARY

A blue and white double-gourd vase, Circa 1640-1650. Estimate £4,000 - 6,000 (€5,600 - 8,400). Photo Bonhams. 

Finely painted on the lower section with a continuous scene of two gentleman relaxing with empty wine cups between a board game set on a low table, two boys approaching with a vase and a qin, all on a terrace with rocks and plantain, the waist with a band of wet dots beneath the upper section with clusters of bamboo, the base with a single painted leaf.20.9cm (8 1/4in) high

Provenance: Guest & Gray (label)
An English private collection

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST -LONDON, NEW BOND STREET

A blue and white double-gourd vase, Chongzhen period (1627–1644). Estimate £4,000 - 6,000 (€5,600 - 8,400). Photo Bonhams. 

The lower section finely painted with a dignified scholar cradling a staff of office in his robed arms, the figure standing on grass besides a crane, the rocky landscape also with two boys, one carrying books and the other a lantern, the scene separated by cloud scrolls, the waist with a band of foliate lotus scroll beneath sprays of prunus, lotus, orchid and peony. 36.2cm (14 1/4in) high

Provenance: An English private collection

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST -LONDON, NEW BOND STREET

A fine blue and white sleeve vase, rolwagen, Chongzhen period (1627–1644). Estimate £25,000 - 35,000 (€35,000 - 49,000). Photo Bonhams. 

A blue and white sleeve vase, rolwagen, Circa 1640. Estimate £15,000 - 20,000 (€21,000 - 28,000). Photo Bonhams.

Painted in vivid shades of cobalt blue depicting a hunting scene with mounted dignitaries drawing their bows and arrows, galloping across a landscape surrounded by rocky outcrops and scattered with trees, accompanied by footmen holding pikes and an attendant behind carrying a shoulder pole tied with preys, all beneath stiff leaves to the slightly everted rim. 44.8cm (17 5/8in) high

Note: Compare with a related blue and white sleeve vase, dated to the Chongzhen period, depicting huntsmen, sold at Christie's New York, 16 March 2015, lot 3532.

Bonhams. FINE CHINESE ART, 14 May 2015 10:00 BST -LONDON, NEW BOND STREET

A blue and white sleeve vase, rolwagen, Shunzhi period. Estimate £15,000 - 20,000 (€21,000 - 28,000). Photo Bonhams. 

A rare blue and white 'boys at play' brushpot, bitong, Chongzhen period. Estimate £15,000 - 20,000 (€21,000 - 28,000). Photo Bonhams. 

Vilhelm Hammershøi, Interior, Strandgade 30, circa 1905. Estimate: £700,000-900,000. Photo: Sotheby's.

LONDON.- This spring Sotheby's will bring to the market a striking interior by Vilhelm Hammershøi, remarkable for its introspective and beguiling qualities. Interior, Strandgade 30, painted circa 1905, was acquired directly from the artist and has remained in the collection of the same family ever since. Estimated at £700,000-900,000, it will be offered for sale in an auction of 19th Century European Paintings in London on 21 May 2015. 

Nina Wedell-Wedellsborg, Head of Sotheby’s Denmark, commented: ‘Hammershøi is an artist whom Danish people hold close to their hearts. But with his ascent to international status through recent high-profile exhibitions, record-breaking prices at auction, and his unique aesthetic that finds resonance among collectors of both Old Master and modern and contemporary art, he has been embraced around the world, in academic circles, among art collectors, and also by the wider public.’ 

Claude Piening, Head of 19th Century European Paintings, commented: ‘Hammershøi’s paintings present the viewer with a haven of tranquility in which time slows almost to a standstill, yet they tantalise with mystery and unanswered questions. His vision both harks back to the interiors of Johannes Vermeer, and anticipates the qualities that define the work of twentieth-century painters including Edward Hopper, Andrew Wyeth, and Gerhard Richter. It is perhaps this universality that so appeals to the collecting community.’ 

Strandgade 30 in Copenhagen, where the artist and his wife Ida lived from 1899 to 1909, serves as the setting for Hammershøi's most important interiors. The small living room seen here, situated at the back of their first-floor apartment with its window overlooking the courtyard, was a motif that fascinated the artist throughout his decade at the address. With or without a figure, by sunlight, candlelight or moonlight, the room is always shown with the door and window closed to evoke Hammershøi’s hermetically sealed world. The only contact to the outside is the sun’s rays, which illuminate the window panes and project on to the floor; while inside, the narrative is steeped in mystery: although Ida appears to knit, the position of her head turned towards the window suggests her gaze is directed elsewhere, or lost in contemplation. 

The composition is the basis of at least nine significant oils of 1900 to 1909, five of which are in public collections in Scandinavia, London and New York, including Moonlight, Strandgade 30, acquired by the Metropolitan Museum of Art in 2012.