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Tom WESSELMANN (1931-2004) , D’Après.Monica Nude with Cezanne..Epreuve en couleur sur papier Rives, signé en bas à droite. Numéroté 5/90.37,5 x 56,5 cm

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in pale blue, yellow, black, and green, 1937. Dated "1/37" along the lower right. With a label from Grace Borgenicht Gallery, New York affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in yellow, black, and white, 1937. Pencil signed and dated "P 1/37" along the lower left.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Trees, 1934;  oil on board, signed and dated on the reverse 'L Gowing June 1934', 28 x 39.3 cm (unframed) (ARR)  Provenance:  the Studio of the Artist;  private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Abstract study, c.1960s;  oil on canvas, 25.5 x 35.5 cm (unframed) (ARR)  Provenance:  the Studio of the Artist;  private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Konvolut Mappen zu moderner Kunst, u.a. G.F. Hartlaub, „Die Fauves“, Paris 1950; „Franz Marc“ mit zehn Farbtaf., München 1948; „Oskar Schlemmer“, Verlag Dieter Keller Stuttgart 1948; „Cezanne“, Edition du Chêne, Paris 1950, „Monet“, Edition Holbein Basel 1947 sowie Jean Arp- und Hans Richter-Broschüren.

A box of art related books, to include volumes about Cezanne, Van Gogh, Manet, Gauguin etc

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, three pages, 8vo, Etretat, 27th October 1885, to Camille Pissarro (´Mon cher Pissarro´), on the printed stationery of the Hotel Blanquet, in French. Monet states that he has been meaning to write to Pissarro for some time and send his news, ´mais vous savez ce que c´est, etant toujours dehors a travailler, on est fatigue le soir et un peu paresseux pour ecrire´ (Translation: ´but you know how it is, being out all the time working, you're tired in the evening and a bit lazy to write´), remarking ´Je pensais rester moins longtemps ici, mais je suis si peu favorise par le temps que c´est le diable de pouvoir terminer quelque chose. J´ai eu beau faire mettre des toiles pour tous les temps, je n´en viens pas a bout d´une, entre les changements de maree, les bateaux qui ne sont jamais a la meme place´ (Translation: ´I thought I'd stay here for less time, but I'm so short of time that it's the devil to get anything done. No matter how many times I've had canvases put up for all weathers, I can't finish one, between the changes in the weather and the boats that are never in the same place´) explaining that he will remain at Etretat for a while longer, in order to make the most of his trip, and therefore won´t be able to attend the next dinners with Pissarro, ´Vous voudrez bien m´en excusre aupres des amis, et leur faire mes amities. Et vous, que faites-vous, et Renoir, Cezanne, Sisley et Durand les affaires, en tout cela un mot et vous serez bien aimable de me mettre un peu au courant´ (Translation: ´I apologise to my friends for this, and send them my regards. And you, what are you doing, and Renoir, Cezanne, Sisley and Durand, the business, in all this a word and you will be very kind to give me some information´). In concluding Monet states that he hopes Pissarro is in good health, that matters are going well for him, and asking for his compliments to be given to Pissarro´s wife and their son Lucien. A letter of good association and fine content, not least for its references to Monet´s work, but also for the mention of a number of other Impressionist artists. Some very light, extremely minor age wear, VGCamille Pissarro (1830-1903) French Impressionist painter whose eldest son was Lucien Pissarro (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books.Pierre-Auguste Renoir (1841-1919) French Impressionist artist. Paul Cezanne (1839-1906) French Post-Impressionist painter.Alfred Sisley (1839-1899) British Impressionist landscape painter.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists, and the first to support Pissarro, Monet and Renoir.Etretat is located in the Normandy region of Northwestern France and is famous for its chalk cliffs, including three natural arches. These landmarks and the associated resort beach attracted not only Monet, but other artists including Eugene Boudin and Gustave Courbet. Monet´s paintings created at Etretat in 1885 include The Cliffs at Etretat and Sailboats behind the needle at Etretat.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 5th May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes regarding a financial matter and the Banque Nationale pour le Commerce et l´Industrie and states, in part, ´La B.N.C.I. m´envoi des feuilles a remplir pour l´argent envoye de Suisse. Je vous l´envoie.....et vous les remplirez sachant mieux que moi comment il faut le faire´ (Translation: ´The B.N.C.I. sends me forms to fill in for money sent from Switzerland. I'll send them to you ..... and you can fill them in knowing better than I do how to do it´). In a postscript the artist also adds that he hopes the bank will send him a receipt for the payments. VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.

A collection of assorted books on art. Including Paul Klee, Mark Rothko and Cezanne, etc.

Books- The Master's Knowledge Publication, Art Nouveau, Cezanne, Klimt, Whistler, Augustus John and many other publications on art:- Two Boxes.

Goya 'The Disasters of War, 85 Etchings' Masters of Etching- 'Rembrandt' and 'Nevinson' The Great War- Fourth Year by Nevison, modern paintings by Monroe Wheeler, Cezanne, Brugel, Toscana, Edward Burra, Bosch:- One Box.

Duret,T.: Die Impressionisten. 4. Aufl. Bln., Cassirer 1920. Mit 2 Orig.- Radierungen von Auguste Renoir und 1 Holzschnitt von Beltrand nach Paul Cezanne. 4 Bl., 139 S., 1 Bl. Oseidenbd. mit Rsch. Nr. 109 von 200 Ex. der Vorzugsausgabe. - Mit den Radierungen "Kinderkopf" und "Badende Frau" von Renoir und dem Holzschnitt "Weiblicher Akt" von Beltrand nach Cezanne. - N.a.V.

Art Reference Books A quantity of books mostly relating to French 19th/20th Century painting and sculpture. To include works on Impressionism, Renoir, Monet, Gauguin, Vlaminck, Chagall, Cezanne etc… (a quantity) ,

* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink and gouache on Arches paper painting titled "Sculpture Model" depicting abstracted shapes in red and blue, 1937. Signed and dated "Paris 2/37" along the lower left; titled along the lower right. With a Menconi & Schoelkopf, New York, gallery label affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 18 in x width: 14 in. Framed; height: 23 in x width: 20 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears or restorations. The sheet is toned. Some light creases along the lower edge. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#6)" depicting a three-dimensional geometric abstract composition in bright colors against a mint-green background, 1983-85. Signed, dated, and titled along the verso. With a custom moving crate. With a Menconi & Schoelkopf, New York, gallery label affixed to the crate.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 42 1/2 in x width: 31 3/4 in x depth: 11 in.Condition: The colors are bold and bright. There are no major losses, bends, or repairs. There is one minute paint loss to the upper-most purple square.

THE FABER GALLERY: 2 Titles: [WILLIAM] BLAKE, with an introduction and notes by Geoffrey Keynes; [Paul] CEZANNE, with an introduction and notes by Adrian Stokes. Tipped in colour plates to both (2)

Fünf Stillleben, 19./20. Jh., diverse Techniken, darunter Druck nach Paul Cezanne, Aquarell, Öl, bis 29 x 46 cm.- Die Stücke können nur bei Bad Füssing besichtigt und - nach vorheriger Überweisung - dort abgeholt werden werden.

'Cezanne und Seine Ahnen' - a collection of twenty one mounted photographic prints, published by R. Piper & Co, Munchen, 1921, in original cover, each print 46cm x 30cm or smaller.

THREE BOXES OF ART BOOKS comprising over seventy miscellaneous titles, mostly in hardback formats to include Bell; Stanley Spencer, Fliedl; Klimt, Lane; Harry Halls Classic Winners, Johnson; Art A New History, Zerbst; Antoni Gaudi and works on Turner, Raphael, Cezanne, Lautrec, Constable, Pre-Raphaelites, British Watercolours, etc

Antique etching on laid paper entitled Portrait de Guillaumin after French Post-Impressionist artist Paul Cezanne. Etched for the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Sketch in the upper left corner which depicts a tiny gallows with a hanged man. Edition number in graphite on lower left: 68/100. Includes protective cover sheet. Artist: After Paul Cezanne (French, 1839-1906)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

Vintage 4th edition paperback catalogue contains 52 pages of text history and 99 plate paintings from MOMA's November 1929 Cezanne, Gauguin, Seurat, and Van Gogh exhibition. Edited by Alfred H. Barr, Jr. Issued: 1929Dimensions: 11"L x 8.5"W x 0.5"HCondition: Age related wear. Binding is slightly torn. All pages in tact.

Antique original engraving on Japan paper entitled Les terres rouges (The Red Lands) after French Post-Impressionist artist Paul Cezannes original painting. Pulled from the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Edition number in graphite on lower left: 68/100. Includes protective cover sheet. Artist: After Paul Cezanne (French, 1839-1906)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

Antique original color etching on wove paper entitled Vue prise de Saardam (View taken from Saardam) after French Post-Impressionist artist Paul Cezanne. Etched for the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Artists signature in plate on lower right: A G. Includes protective cover sheet. Artist: After Armand Guillaumin (French, 1841-1927)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

A collection of Skira art books, to include; Corot, Cezanne, Pissarro, Art Nouveau, (A Lot). 

Woolf (Virginia). The Captain's Death Bed and Other Essays, 1st edition, London: The Hogarth Press, 1950, partial offsetting to endpapers, original cloth, spine faded and lettering dulled, price-clipped, dust jacket designed by Vanessa Bell, spine toned with small chips at ends, short closed tear at head of front panel, a few small stains, 8vo (Kirkpatrick A30), together with Woolf (Leonard & James Strachey, editors). Virginia Woolf & Lytton Strachey Letters, 1st edition, London: Hogarth Press & Chatto and Windus, 1956, original cloth, fading to extremities, dust jacket by Vanessa Bell, tear and loss at head of spine and top right corner of front panel, some toning and small chips, 8vo, plus Garnett (David). Go She Must!, 1st edition, London: Chatto & Windus, 1927, a little minor spotting, original cloth (slight lean), dust jacket, spine lightly toned, 8vo, with 13 others including The Village in the Jungle, by Leonard Woolf, 1st edition, 1913, Cezanne. A Study of his Development, by Roger Fry, 2nd edition, 1932, the Death of the Moth and Other Essays, by Virginia Woolf, 1st edition, 1942 (lacking dust jacket), , Winter Movement and Other Poems, by Julian Bell, 1930 (2 copies), others by David Garnett etc QTY: (16)

Paul Cézanne (1839-1906) after.Le Déjeuner sur L'Herbe (Cherpin 9; Leymarie-Melot 9)Lithograph printed in colours, 1894 printed in 1914, printed by Auguste Clot, Paris, on chine-volant paper, with full margins, sheet 360 x 440mm (14 1/8 x 17 1/4in) The present work was produced in homage to Claude Monet's painting of the same title and the lithograph was intended to be published by Vollard in his Album d'Estampes de la Galerie Vollard. Cezanne supervised the production of the maquette, however for unknown reasons the work was not published by Vollard, and it remained unprinted until 1914 when the current edition was pulled by the master printer Auguste Clot.

* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.

Paul Cezanne (French, 1839-1906), Paysage a Auvers - Entree de Ferme Rue St. Remy (1873), etching, probably printed on Dr. Gachet's press of ten impressions, 13 by 10.5cm, framed. Note: Cherpin 5; Leymarie-Melot 5 before the plate was steel-faced. The first published issue was in 1914 by Bernheim Jeune for the album Cezanne. Edition of 600. Provenance: with William Weston Gallery, London

Paul Cezanne (French, 1839-1906), portrait of Armand Guillaumin (1873), etching, 15 by 10.5cm, gilt frame

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An unusual vintage signed and inscribed colour picture postcard by Picasso, the image, entitled Joies et plaisirs de la Cote-d´Azur, being a photomontage of a blonde pin-up girl wearing a bikini and sitting in a full-length pose with her legs outstretched on a diving board against a backdrop of the bay of Cannes featuring palm trees, golden sandy beaches and hotels etc. Signed by Picasso in bold blue fountain pen ink to a light area of the image, ´Pour Raoul Pellequer, son ami, Picasso´. The verso of the postcard features an A.L.S., Max, by Max Pellequer, n.p. (Cannes), 1st February 1959, to his brother Max, in French. Pellequer writes, in full, ´C´est Picasso qui a voulu choisir cette carte pour toi. C´est la raison pour laquelle je te l´envoie avec mes plus effectues pensees et mes regrets de ne pas vous avoir aupres de nous dans ce pays si plein de bons souvenirs qui a aussi invente la bouillabaisse, que nous avons degustee malheureusement sans vous´ (Translation: ´It was Picasso who chose this card for you. That's why I'm sending it to you with my deepest thoughts and my regrets at not having you with us in this country so full of good memories, which also invented the bouillabaisse, which unfortunately we tasted without you´). The letter is also signed (with their first names) by Francine Pellequer, Jacqueline Roque, the French model, muse and second wife of Picasso, and also by Pablo Picasso himself with a bold black ink signature (´Picasso´). An attractive example of Picasso´s autograph, enhanced by a letter with interesting association. VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.

MORISOT BERTHE: (1841-1895) French Painter. Morisot was married to Eugene Manet, brother of her close friend and colleague Edouard Manet. She was a member of the circle of painters in Paris who became known as the Impressionists. In 1874, she joined the "rejected" Impressionists by the Academie des beaux-arts in the first of their own exhibitions, which included Cezanne, Degas, Monet, Pissarro, Renoir and Sisley, which was held at the studio of the photographer Nadar. A rare and lengthy A.L.S., `B.M.´, with her initials, four pages, 8vo, n.p., n.d., to her niece Paulette, in French. Morisot, in her late years, thanks her correspondent for her letter and explains what is her husband and her own updated health situation, stating in part `Ma chère petite Paulette, je suis bien touchée de ta lettre, j´ai toujours su que tu avais du coeur et que tu répondais à l´affection que ton oncle et moi avons pour toi. Il est beaucoup mieux...mon esprit inquiet va au devant des complications de l´avenir. Ta mère comprendra ici mieux que toi, nous sommes à un âge où une fois touchés par le malheur nous pourrions ne devoir jamais nous relever´ (Translation: "My dear little Paulette, I am very touched by your letter, I always knew that you had a heart and that you responded to the affection that your uncle and I have for you. He is much better...my worried mind goes ahead of the complications of the future. Your mother will understand better than you, we are at an age where once touched by misfortune we may never have to get up again") Further Morisot refers to writing and painting and gives her advice to her niece, saying `J´ai lu ta lettre à ton oncle, elle lui a fait grand plaisir, il a visité l´Auvergne dans sa jeunesse... et a trouvé que tu décrivais parfaitement le pays. Nous sommes deux à te reconnaitre un petit talent littéraire que tu devrais cultiver, tu ne ferais pas tort à la peinture, au contraire, je crois que l´un aide l´autre et je pressens que dans quelques années d´ici, la mode sera aux femmes écrivains. Si on reçoit le Figaro là-bas, demande à ta mère de te laisser lire les fragments de Mémoires par les Goncourt. ils contiennent quelques fois de jolies choses´ (Translation: "I read your letter to your uncle, it gave him great pleasure, he visited Auvergne in his youth... and found that you described the country perfectly. We are the two of us recognizing in you a little literary talent that you should cultivate, you would not do any harm to painting, on the contrary, I believe that one helps the other and I sense that in a few years from now, fashion will be for women writers. If you receive Le Figaro there, ask your mother to let you read the fragments of Memoirs by the Goncourt, they sometimes contain pretty things") Further again Morisot refers to her brother-in-law and to her own day by day, saying `J´ai vu l´oncle Adolphe toujours bavard, se mettant franchement à ma disposition avec un fleuve de paroles assourdissant... en somme je ne suis pas abandonnée, que ta mère se rassure et qu´elle jouisse en paix de son séjour à la campagne, vous devez y avoir de bien belles journées, quelle mine a-t-elle? Elle me disait dans une de ses lettres qu´elle avait été souffrante´ (Translation: "I saw Uncle Adolphe, always talkative, frankly putting himself at my disposal with a deafening river of words... in short I am not abandoned, may your mother be reassured and may she enjoy her stay in peace in the countryside, you must have some very nice days there, how is she feeling? She told me in one of her letters that she had been unwell") VGPaule Marie Gobillard (1867-1945) Niece of Berthe Morisot. She was the elder daughter of Theodore Gobillard (1833-1883) and Berthe´s elder sister Yves Elisabeth Morisot (1838-1893)Eugene Manet (1833-1892) Younger brother of Edouard Manet. Berthe and Edouard were not only colleagues but very close friends. Edouard remained with his wife and Eugene married Berthe Morisot in 1874, in what has often been described as a marriage of convenience. Adolphe Pontillon (1832-1894) Brother-in-law to Berthe Morisot. He was the husband of Berthe´s sister Marie Caroline Morisot (1839-1921)

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 2nd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso, in the second letter of the day that he has written to Pellequer, states ´Je viens de recevoir les recus des cheques envoyes a ces messieurs des contributions. Je vous les envoi. Il fait un temps d´ete. Je travaille´ (Translation: ´I've just received the receipts for the cheques sent to these gentlemen from the tax department. I am sending them to you. The weather is summery. I am working´). VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, 2nd November 1921, to Elie Faure, in French. Monet writes a sympathetic letter of benevolence, in full, ´J´ai beaucoup donne pendant les guerres et suis a present assez depourvu de toiles a pouvoir donner. Je ne veux cependant pas rester sourd a votre appel, en faveur d´un confrere si cruellement touche. Je vous envoie donc ci-joint un billet de mille francs, qui lui sera utile de suite´ (Translation: ´I donated a lot during the wars and am now quite short of canvases to donate. However, I do not want to turn a deaf ear to your appeal on behalf of a colleague who has been so cruelly affected. I am therefore sending you herewith a note for one thousand francs, which will be of immediate use to him´). With blank integral leaf. Accompanied by the original registered envelope hand addressed by Monet (area of paper loss caused by the removal of the postage stamps, slightly affecting the name of the recipient) and bearing five red wax seals to the verso, each with Monet´s initials imprinted to the centre. A few very light, extremely minor creases, VGElie Faure (1873-1937) French medical doctor, art historian and essayist, a passionate admirer of Paul Cezanne and Diego Velasquez, and a friend of Chaim Soutine, whom Faure considered a genius.The present letter was written by Monet in response to an appeal by Faure to a number of artists, seeking their assistance in raising funds for Francisco Iturrino (1864-1924), a Spanish Post-Impressionist painter sometimes associated with Fauvism. In 1920 Iturrino had developed gangrene on one leg which required an operation and was amputated the following year. Subsequently the artist refined himself to etching, although soon ran into financial difficulties. Faure organised an exhibition at the Galerie Rosenberg, which featured works donated by Matisse, Picasso and several other of Iturrino´s friends. The money raised from the exhibition enabled Iturrino to retire to Cagnes-sur-Mer in 1922, where he died two years later.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine correspondence collection of eight A.Ls.S. and one L.S., Claude Monet, fourteen pages (total), 8vo, various places (mainly Giverny par Vernon, Eure), 1882-1923, to various correspondents including the important French art dealers Paul Durand-Ruel and Ambroise Vollard, further including an A.N., unsigned, by Monet to his Visiting Card, all in French. The letters are unusually bound together in an attractive presentation of other related printed material, principally featuring a limited edition copy of the exhibition catalogue for Claude Monet - A. Rodin at the Galerie Georges Petit, 1889. The correspondence centres on a variety of subjects from exhibiting with Rodin to purchasing works by Paul Cezanne, and comprises (in order of their appearance within the volume) -(i) A.L.S., Claude Monet, three pages, 8vo, Fresselines, Creuse, 12th April 1889, to Monsieur [Georges] Petit. Monet writes to confirm his agreement to participate in an exhibition at Petit´s gallery, in conjunction with the sculptor Auguste Rodin, in part, ´J´accepte les conditions que vous mes faites pour faire une exposotion dans votre galerie......a dates du 5 Juillet prochain au 5 Octobre (il faut qu´il soit bien convenu que vous nous livrez la galerie au plus tard le 5 Juillet........a fin d´ouvrir le 5 vous devez pouvoir le decider des a present). Conditions 8000 fr a vous donner en peinture et 10% sur la vente.........Le chiffre a vous remettre en peintures et en sculptures. Je previens Rodin de mon acceptation a vos conditions. Vous aurez donc a conclure avec lui en ce qui le concerne et je vous prie de m´adresser un mot de reponse qui constitue......et engagementde votre part´ (Translation: ´I accept your conditions for an exhibition in your gallery......from 5th July to 5th October (it must be clearly agreed that you will deliver the gallery to us by 5th July at the latest........ in order to open on the 5th you must be able to decide this now). Conditions 8000 fr to be given to you in paintings and 10% on the sale.........The figure to be given to you in paintings and sculptures. I inform Rodin that I accept your conditions. You will therefore have to come to an agreement with him as far as he is concerned and I would ask you to send me a note of reply which will constitute...... a commitment on your part´).Georges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists. Auguste Rodin (1840-1917) French sculptor who exhibited The Kiss at Petit´s gallery in 1887.The joint exhibition by Monet and Rodin at Petit´s gallery in 1889 served to seal Rodin’s position as France’s premier sculptor and opened doors to collections and museums around the world.Monet stayed for three months at Fresselines, in the spring of 1889, at the home of the French poet and musician Maurice Rollinat (1846-1903).(ii) A.L.S., Claude Monet, one page, 8vo, Villers-sur-Mer, 11th June 1882, to [Paul] Durand-Ruel. Monet arranges a meeting with his art dealer, ´Je suis oblige de venir demain matin a Paris. Si vous n´avez rien qui vous derange, je passerai rue de la Paix vers 10h ou 10h 1/2´ (Translation: ´I have to come to Paris tomorrow morning. If you don't have anything to disturb you, I'll drop by rue de la Paix around 10 or 10 1/2´).Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists and the Barbizon School, an early supporter of Monet, Camille Pissarro and Pierre-Auguste Renoir.(iii) A.N., unsigned, to the recto of Monet´s personal printed oblong 12mo Visiting Card, featuring his printed name to the centre and address at Giverny par Vernon (Eure) to the lower right corner, with two lines of French text in his hand, in the third person and written in his characteristic bold purple ink, ´avec ses sinceres compliments et tous ses remerciements´ (Translation: ´with his sincere compliments and many thanks´). Accompanied by the original envelope hand addressed by Monet to the art critic Andre Mellerio in Paris, post marked 17th December 1895.Andre Mellerio (1862-1943) French art critic who promoted the cause of Symbolism and was the biographer, and great friend, of Odilon Redon.(iv) A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, 9th December 1895, to [Ambroise Vollard] (´Cher Monsieur´), written in the artist´s chracteristic bold purple ink. Monet writes concerning the delivery of a painting by Paul Cezanne, ´Si vous ne l´avez deja fait, je vous prie de ne pas manquer d´envoyer mon tableau de Cezanne chez M. Montaignac......demain mardi avant-midi´ ( With blank integral leaf and four coners of the letter neatly torn away, not affecting the text or signature.Ambroise Vollard (1866-1939) French art dealer and collector, one of the most important dealers in French contemporary art at the beginning of the 20th century.(v) A.L.S., Claude Monet, two pages (written to the first and and fourth sides of the black bordered mourning bifolium stationery), 8vo, Giverny par Vernon, Eure, 26th May 1899, to [Ambroise] Vollard, written in the artist´s familiar bold purple ink. Monet sends his art dealer a payment for an early painting by Paul Cezanne, The Negro Scipion, ´Je vous adresse la somme de quinze cents francs que je restais vous devoir sur la toile de Cezanne (le negre). J´ai tarde a vous remettre cette somme parce que je pensais toujours venir a Paris et ne sachant trop quand je viendrais, je prefere vous l´adresser, que vous faire attendre plus longtemps´OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTIONS FOR THE LETTERS IN THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION. The letters are all lightly tipped at the left edges to paper tabs and bound a la Bradel alongside a printed 8vo copy of the exhibition catalogue for Claude Monet - A Rodin at the Galerie Georges Petit in Paris, 1889, being a limited edition of just twenty copies (this one numbered 16) published by Menard, printed on Japon paper (top edges gilt) and itself an interesting presentation copy, inscribed to one of the front free endpapers by Gustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet, to his fellow art critic Edmond de Goncourt (1822-1896), ´A Edmond de Goncourt, hommage respectueux de son ami, Gustave Geffroy´. The catalogue contains French text essays on both Monet, by Octave Mirbeau, and Rodin, by Geffroy, as well as a list of titles of the works included in the exhibition, featuring over 140 paintings by Monet and thirty-six sculptures by Rodin. Also included within the binding is a small 8vo printed catalogue for an Exposition d´Oeuvres recentes de Claude Monet at the Galerie Durand-Ruel, Paris, 4th - 16th May 1891, accompanied by a printed admission ticket, with a French text essay by Geffroy and list of twenty-two paintings by Monet (the paper wrappers a little browned at the edges and with a few minor chips). The whole bound in dark green cloth and with a brown leather gilt stamped title label to the spine. A wonderful collection of letters and printed ephemera with fine content and excellent associations. Generally VG

Paula Modersohn-Becker (Dresden 1876 - Worpswede 1907). Gänsemagd. 1899. Radierung. 25 x 20,5 cm. L. u. von Otto Modersohn bez. 'f. P. Modersohn-Becker O. Modersohn', unter Passepartout und Glas gerahmt. Unauffällig grifffaltig. - Literatur: WVZ: Werner 7 - Eine der bedeutendsten deutschen Künstlerinnen der Moderne. Nach erstem Zeichenunterricht in Bremen setzte M.-B. ab 1896 ihre Ausbildung an der Malschule des Vereins Berliner Künstlerinnen fort, 1898 zog sie nach Worpswede, um bei F. Mackensen Unterricht zu nehmen. 1900 besuchte sie gemeinsam mit C. Westhoff, der späteren Frau Rilkes, für einige Zeit die Académie Colarossi in Paris. Zurück in Worpswede heiratete sie 1901 O. Modersohn. 1903, 1905 und 1906 kehrte sie nach Paris zurück und entwickelte in Auseinandersetzung mit Cezanne und Gauguin ihren Stil. Nach der Geburt ihrer Tochter 1907 starb sie in Worpswede. Während ihres Lebens stellte sie kaum aus, bald nach ihrem Tod setzte aber eine umfassende Würdigung ihrer epochalen Leistung ein. Mus.: Bremen (Paula Modersohn-Becker-Mus., Kunsthalle), Hamburg (Kunsthalle), Wuppertal (Von der Heydt-Mus.), Hannover (Kestner-Ges.), Essen (Folkwang-Mus.), Düsseldorf, Köln u.a. Lit.: Thieme-Becker u.v.a.

KARL JOSEF GUNSAM* (Wien 1900 - 1972 Wien)Hügelige LandschaftAquarell/Papier 37,8 x 52,5 cmSCHÄTZPREIS / ESTIMATE °€ 200 - 400STARTPREIS / STARTING PRICE °€ 200Karl Josef Gunsam war ein österreichischer Künstler. Gunsam studierte neben seiner Tätigkeit als Fußballprofi zunächst Malerei an der Akademie Vitti in Paris, dann bei Dobrowsky (dessen Assistent er lange Zeit war) und Kolig an der Akademie der Bildenden Künste in Wien. Später unternahm er Studienreisen nach Frankreich, Italien, Griechenland und in die USA. Ab 1932 Mitglied des Hagenbundes, ab 1945 der Secession. Gemalte Landschaften, Stillleben und Porträts (Cezanne-Verehrer). Er nahm an zahlreichen Ausstellungen in Wien teil. 1958 erhielt er den Titel eines Professors. Gunsam spezialisierte sich auf architektonisch konstruierte Landschaften in kräftigen Farben.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

Jonah Jones (born 1919), a watercolour "A Private Joke, Jonah Cezanne for Derwent Constable". 13 cm x 18.5 cm.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Northener, 1957;  monoprint on card, 17.2 x 36.5 cm (ARR) Provenance:  the Studio of the Artist;  private collection Note:  there are two labels attached to the reverse, one is inscribed and reads, 'first made for the cover of a student magazine at Newcastle-upon-Tyne and later sent as a Christmas card. Signed and dated 'Christmas 1957' on the reverse. The vertical fold two thirds of the way across the sheet is an integral part of the design. The second states 'Ex cat Northener 1957' and is inscribed 'Hayward Gallery 1977'.  An accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Classical study;  oil on board, 32.5 x 42.5 cm (unframed) (ARR) Provenance:  the Studio of the Artist;  private collection Note:  an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Sir Lawrence Gowing CBE RA,  British 1918-1991 - The artist's painting case and palette;  painting case with various paints and paintings implements and the artist's palette: together with a small box of a collection of the artist's books (3) Provenance:  the Studio of the Artist;  private collection Note:  an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protégé of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Landscape, c.1940s;  oil on canvas laid down on board, 40 x 50.4 cm (unframed) (ARR)  Provenance:  the Studio of the Artist;  private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

After Cezanne, framed and glazed etching on paper, Guillaumin au Pendu, signed and inscribed. H.42 W.31

JOSEF HUBACEK (Czech / Bohemian 1899 - 1931) - French landscape | 1920s | technique: oil on canvas | 65 x 51 cm | signature: unsigned | framed | Lot description | The painting by Josef Hubacek, painted in the 1920s, is an exceptional example of the influence of French modernism on Czech art. In this work, Hubacek sensitively combines elements of Impressionism and Post-Impressionism, which were popular in France at the time. The dynamic work with light and the subtle color palette refer to the work of French masters such as Paul Cezanne. This painting, depicting a peaceful rural scenery, demonstrates Hubacek's ability to capture the atmosphere of the landscape while also reflecting the modern painting practices that shaped European art in the first half of the 20th century. | condition report*In case of missing photos, please feel free to contact us.

CÉZANNE (PAUL)Autograph letter signed ('Paul Cézanne'), to Camille Pissarro ('Mon cher Pissarro'), in French, discussing the reception of the second Impressionist Exhibition at Durand-Ruel, mentioning a hostile review by Albert Wolff in Le Figaro and that, even so, Monet sold his La Japonaise for two thousand francs, talking of the sensation caused by the rejection of Manet's works at the Salon, explaining the confusion over a review by the journalist Authier (alias Jean-Lubin) which erroneously described Monet and Pissarro as 'imitators' instead of 'initiators', complaining of the 'aquatic' weather and although his fruits and vines have been ruined by frost, he consoles himself with art and painting ('that's the advantage of art, painting remains'), ending by admitting that he too had received a rejection letter from the Salon, 4 pages on a bifolium, dust-staining, creased at folds, small pin holes where folds join, 8vo (208 x 271mm.), Aix, April 1876Footnotes:'VOYEZ L'ADVANTAGE DE L'ART, LA PEINTURE RESTE': CEZANNE TO PISSARRO ON PAINTING AND THE SECOND IMPRESSIONIST EXHIBITION.This long letter is written at the time of the month-long second Impressionist Exhibition at Galerie Durand-Ruel which began on 2 April 1876. Of the nearly 300 works exhibited, Pissarro showed twelve paintings, Monet eighteen works and Degas twenty-four. The exhibition is particularly known for introducing the artist Gustave Caillebotte, who also put up the majority of the finance. Neither Cézanne nor Manet exhibited although, as our letter reveals, Manet, whom Cézanne reports here as having been rejected from the Salon, chose to exhibit at his own home. It is one of six letters to Pissarro published in John Rewald, Paul Cézanne, Letters, 1941, no.XXXIII, p.100-101, and is also included in Alex Danchev, The Letters of Paul Cézanne, 2013, no.56, p.153. Provenance: Boisseau-Pomez, Troyes, 2 February 2007, lot 2; Artcurial, Paris, 2 April 2019, lot 324.For further information on this lot please visit Bonhams.com

CONSTANTINOS MALEAS (1879-1928)Côte d'Attique signé en grec en bas à droitehuile sur carton contrecolle sur toile34 x 49,5 cm. (13 3/8 x 49.5in.)signed in Greek lower rightoil on cardboard laid on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Maleas' studio, Attica Seashores, Autumn 1920-1021 (possibly).LittératureA/Kotidis, Constantinos Maleas (1879-1928),Adams editions, Athens 2000, no. 154, pp.151-152(discussed) p.336 (catalogued), p. 158, fig. 97 (illustrated).Full of life and paganistic fervour, this restless work conveys the artist's emotional response to the landscape, translating a stretch of coastal land into a powerful visual language of form and colour. Using richly layered, dynamic brushwork and a strong, expressive palette, Maleas focuses on nature's colours, shapes, and textures as integral elements to his pictorial arrangement. Rather than resorting to the picturesque, he relies on purely painterly means to create a dynamic tension between nature and abstraction. Instead of merely depicting a landscape, he conveys the impression that we are actually witnessing the process of its birth. Following in the steps of Cezanne, who exhorted painters to look for solidity and discover the enduring character of their subjects, Maleas handled the natural environment not only as coloured patterns of light that would have satisfied an impressionist eye, but also as substantial forms with volume, mass and structure. Similarly, he transcended impressionism in the rendering of space, suggesting recession into depth not by diminution of tonal contrast but through the arrangement of form in a sequence of planes. (Note how the distant mountains are as lucid and vivid as the foreground shrubs). While painting the view in front of him with complete directness, Maleas did so with a deep understanding of the landscape as a complex entity, entrusting his subject to the truth of vision and then recomposing it with freedom and creativity.For further information on this lot please visit Bonhams.com

Folio Society: 'Degas by Himself', 'Vincent by Himself', 'Cezanne by Himself', The Impressionist Revolution seven general interest Folio Society editions and three volumes 'The Drawings of Leonardo da Vinci', (reprint society):- One Box.

THE FABER GALLERY: 2 Titles: [WILLIAM] BLAKE, with an introduction and notes by Geoffrey Keynes; [Paul] CEZANNE, with an introduction and notes by Adrian Stokes. Tipped in colour plates to both (2)

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Work No. 10, USA, 1937" depicting slats of orange, yellow, and blue against a white background, 1937. With a label from IVAM Centre Julio Gonzalez affixed to the verso. Impressed "[Copyright] Charles Biederman No.10, Paris, 1937,1983" along the verso. With a custom moving crate. With a Menconi & Schoelkopf, New York, gallery label affixed to the crate.Provenance: Estate of Charles Biederman; Estate of Mary Abbott.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 33 1/2 in x width: 29 in x depth: 5 in.Condition: There are no major losses, breaks, or repairs. Minute losses to the lowest blue platform along the lower extending edge. Light dust gathered along the platforms throughout.

Mark Reed (b.1955). Two barns in the style of Paul Cezanne, oil on board, signed, dated 2022, titled verso, 39cm x 49cm. Artist label verso.

A QUANTITY OF ASSORTED PRINTS ETC, comprising ten late 19th / early 20th 'Cries of London' prints, frames are in poor condition, some glass broken, vintage Paul Cezanne print 'Le Lac D'Annecy', Jane Hickman flower print, signed D. Keith Johnson print and four photographic prints of Concorde

United States: Crown Publishers, 1978. Full title: The Moderns: A Treasury of Painting Throughout the World. Hardcover book with color images and information of some of the most renowned artists such as Matisse, Cezanne, Gauguin, Van Gogh and others. 218 pages. ISBN 9785551820116. Dimensions: 9.5"W x 12.75"H x 1.25"DManufacturer: Crown PublishersCountry of Origin: United StatesCondition: Age related wear.

Tony Stocker (1939-2003), insribed on verso ' Mont Sainte Victoire - A Homage to Cezanne -', oil on canvas, 122cmx81cm, unframed.

The Impressionists. The Complete Guide from Cezanne to Van Gogh.

Constantine, Cadaqués, Costa Brava, homage to Cezanne, signed, oil on board, 30cm x 40cm.

A group of six framed lithographs after Klee, Kandinsky, Picasso and Cezanne, largest frame size 42 x 52cm.

Paula Modersohn-Becker (Dresden 1876 - Worpswede 1907). Sitzendes Kind. Um 1900/1922. Kaltnadel. 8,5 x 12 cm. L. u. von Otto Modersohn bez. 'f. P. Modersohn-Becker O. Modersohn', unter Passepartout und Glas gerahmt. Blasser Lichtrand. Das um 1900-1902 entstandene Werk wurde nach dem Tod der Künstlerin um 1922/23 gedruckt und von ihrem Witwer Otto Modersohn signiert. - Literatur: WVZ: Werner 9 b - Provenienz: Galerie R. E. Lewis & Daughter, San Rafael, 7.11.2007; seitdem Privatsammlung Den Haag - Eine der bedeutendsten deutschen Künstlerinnen der Moderne. Nach erstem Zeichenunterricht in Bremen setzte M.-B. ab 1896 ihre Ausbildung an der Malschule des Vereins Berliner Künstlerinnen fort, 1898 zog sie nach Worpswede, um bei F. Mackensen Unterricht zu nehmen. 1900 besuchte sie gemeinsam mit C. Westhoff, der späteren Frau Rilkes, für einige Zeit die Académie Colarossi in Paris. Zurück in Worpswede heiratete sie 1901 O. Modersohn. 1903, 1905 und 1906 kehrte sie nach Paris zurück und entwickelte in Auseinandersetzung mit Cezanne und Gauguin ihren Stil. Nach der Geburt ihrer Tochter 1907 starb sie in Worpswede. Während ihres Lebens stellte sie kaum aus, bald nach ihrem Tod setzte aber eine umfassende Würdigung ihrer epochalen Leistung ein. Mus.: Bremen (Paula Modersohn-Becker-Mus., Kunsthalle), Hamburg (Kunsthalle), Wuppertal (Von der Heydt-Mus.), Hannover (Kestner-Ges.), Essen (Folkwang-Mus.), Düsseldorf, Köln u.a. Lit.: Thieme-Becker u.v.a.