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After Paul Cezanne (1839-1906) "Le Déjeuner sur l'herbe" (Cherpin - Cézanne Graphic Work, 9; Leymarie-Melot, 9), colour lithograph on China paper, circa 1914, image approximately 34 x 39cms, in mount.This lithograph was probably commenced around 1894 and was intended to be published by Vollard in his Album d'Estampes de la Galerie Vollard. Cezanne created the maquette and supervised production but Vollard did not finalise publication. It remained unprinted until taken up by Auguste Clot, Paris, in 1914.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 3rd May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes, in part, ´Voici le cheque et voici la lettre. Mais je trouve que le chiffre a bien augmente´ (Translation: ´Here's the cheque and here's the letter. But I think the figure has gone up quite a bit´) and concludes by wishing Pellequer a pleasant stay at [Chateau de?] Poulesse and one other place. Some very light, minor creasing and age wear, 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.

Follower of Cezanne, oil on paper laid on board - A Street Scene, indistinctly signed, 30 x 38.5cm

AFTER PAUL CEZANNE (FRENCH 1839 - 1906), STILL LIFE print on paperframed and under glass, along with three further printsthe Cezanne 52cm x 67cm

Manner of Paul Cezanne, red roofed houses on a terraced hillside, oil on board, 14.75" x 17" (38 x 43cm), unframed.

Paul Cezanne (1839 Aix-en-Provence 1906)PaysageUm 1904Öl auf Leinwand, doubliert70,5x90,5 cmWerkverzeichnisJohn Rewald in Collaboration with Walter Feilchenfeldt and Jayne Warman, The Paintings of Paul Cézanne, a Catalogue Raisonné, New York 1996, Nr. 923ProvenienzAmbroise Vollard, ParisSlg. Gottlieb Friedrich Reber (1880-1959), Lausanne, angekauft aus dessen Nachlass vonSlg. Eberhard W. Kornfeld, Bern, rückseitig auf dem Chassis mit dem Sammlerstempel, Lugt 913bLiteraturFriedrich Teja Bach, The Stake in the Pictorial Flesh: Disruptions in Cézanne’s Œuvre, in: Cézanne: Finished - Unfinished. Ostfildern-Ruit 2000, S. 80, Abb. 29Peter Kropmanns/Uwe Fleckner, Von kontinentaler Bedeutung: Gottlieb Friedrich Reber und seine Sammlungen, in: Die Moderne und ihre Sammler: französische Kunst in deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik, Berlin 2001, S. 388Karsten Schubert, Review of Cézanne Drawings, The Burlington Magazine 154, Nr. 1375 (Oktober 2017), Abb. 85AusstellungenZürich 1956, Kunsthaus, Paul Cézanne, Kat. Nr. 65München 1956, Haus der Kunst, Paul Cézanne, Kat. Nr. 47Davos 1998-1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 14, Abb.Wien/Zürich 2000, Kunstforum/Kunsthaus, Cézanne, Kat. Nr. 124, S. 346, Abb. S. 349 und S. 80Aarau 2000, Aargauer Kunsthaus, Das Gedächtnis der Malerei, S. 419, Abb. S. 24Riehen 2006/2007, Fondation Beyeler, Hommage à Paul CézanneHumlebaek 2008, Louisiana, Cézanne & Giacometti, Kat. Nr. 60, S. 349, Abb. S. 321Wien 2008/2009, Albertina, Wege zur Moderne, Aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 14, S. 284, Abb. S. 33Wien 2009/2010, Albertina, Impressionismus, Wie das Licht auf die Leinwand kam, Kat. Nr. 288, S. 303f., Abb. S. 289Tübingen 2011/2012, Kunsthalle, Cézanne, Renoir, Picasso & Co, 40 Jahre Kunsthalle Tübingen und Götz Adriani, S. 283, Abb. S. 72 (spiegelverkehrt)Basel 2017, Kunstmuseum, Der verborgene Cézanne, Kat. Nr. 182, Abb. S. 215ZustandMit alter Doublierung und Atelierspuren. Oben links der Mitte mit einer kleinen Retusche. Insgesamt in gutem ZustandErläuterungenIn diesem Spätwerk führt Paul Cezanne den Betrachtenden exemplarisch vor Augen, wie gekonnt und mutig er bei der Gestaltung und Bearbeitung seiner Kompositionen mit dem Pinsel und der Farbe umzugehen wusste. Die fein gemalte Symphonie in Blau-, Grün- und Gelbtönen visualisiert seine Vision einer "reinen Malerei". Er hatte in der vielfältigen Natur ein feines Masswerk aus Rhythmus und Proportionen erkannt, eine architektonische Struktur, die wie ein kristallines Muster in den zufälligen Formarrangements enthalten war. Fast könnte man im Gemälde die alte Unterscheidung von "Natura" und "Cultura", also das Ursprüngliche und das Menschgemachte, exemplarisch erfasst sehen. "Paysage" stellt vermutlich einen Landschaftsausschnitt am Fusse des Mont Sainte-Victoire zwischen Aix und Tholonet dar. Cezanne kannte diesen Teil der Provence seit seiner Jugendzeit bestens, unternahm er doch schon mit seinem Jungendfreund Émile Zola so manchen Streifzug durch diese Gegend Südfrankreichs.Die spontan wirkende Bildfindung und die übereinander gestaffelte Schichtung loser Farbflächen verleihen dem Werk eine faszinierende Leichtigkeit und Modernität; man spürt exemplarisch Cezannes grossen Einfluss auf die nachfolgende Künstlergeneration.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)13.09.2024; 13:35 h (MEST)VersandkostenAuf Anfrage / On request

A Halcyon Days limited edition enamelled box, the cover decorated with 'Still Life of Apples' after Paul Cezanne, leather lined interior, width 14cm, with original box.

Walter Langhammer,  Austrian 1905-1977 -  Temple in India;  watercolour and pencil on paper, signed lower right 'W Langhammer' and dated in Devanagari, 36 x 47.5 cm (unframed) (ARR)  Note:  Austrian born Walter Langhammer was one of the foremost patrons and critics of the Bombay Progressive Artists’ Group. Born in Graz in 1905, Langhammer fled to India with his Jewish wife Käthe Urbach in 1938, shortly before the Second World War. Although their initial time in the country was turbulent, with the couple being arrested by the British and interned in different cities, they were released once their political leanings were confirmed through evidence in the form of Langhammer’s caricatures.  Walter and Käthe set up a studio in their apartment at Nepean Sea Road in Bombay, and became an active part of the artistic community of the city. Langhammer secured a position at The Times of India as the newspaper’s first Art Director, and every Sunday, held an open salon for artists to discuss their work. He exposed the young Progressives to European and Indian art and encouraged them to examine and dissect these paintings. According to S H Raza, “He used to put in front of me paintings by Raphael, El Greco, Monet and Cezanne; paintings of the Persian, Rajput and Mughal miniatures and he would say, ‘Look at these paintings and tell me what is happening there.’ It was a tough job but it was an eminent awareness of form which started developing in me which I started to follow in time to come.” (Quoted in Yashodhara Dalmia, The Making of Modern Indian Art: The Progressives, New Delhi: Oxford University Press, 2001). Langhammer’s own artistic practice flourished in India, and he exhibited frequently at the Bombay Art Society. His fellow émigré and art critic Rudolf von Leyden, reviewing one of Langhammer’s exhibitions at the University Convocation Hall in Bombay in 1945, wrote, “The creative play on the sheer beauty of colour has been the preoccupation of many artists, past and present… for years he has struggled to break down the fence and reach the realm of pure colour… I would not be surprised if the impact of Indian light and colour on his artistic temperament has accelerated the process and will continue to influence it.” (Dalmia) Langhammer was also an influential member of the Bombay Art Society Committee, and collaborated with Kekoo Gandhi, who founded Chemould Art Gallery, to design frames of a superior quality for individual artworks. He maintained that modern Indian art had great potential and would continue to grow.As Langhammer’s health deteriorated, he returned to Europe with his wife. He died in 1977. 

David Burliuk, Ukrainian 1882-1967 - Hommage à Cezanne 1910; oil on panel, signed lower right 'Burliuk', 18.4 x 13 cm (ARR) Provenance: Eric and Salome Estorick, United Kingdom (according to the label attached to the reverse of the frame); with Aca, New York and Rome (according to the label attached to the reverse of the frame); with Grosvenor Gallery, London (according to the label attached to the reverse of the frame); with Whitford Fine Art, London (according to the label attached to the reverse of the frame); The Collection of Ralph I. Goldenberg Exhibited: London, Grosvenor Gallery, London, 'Russian Geometry', 21st January-27th February 1998, No.3 (according to the label attached to the reverse of the frame) Note: David Burliuk's work is central to the Royal Academy, London's current exhibition, 'In the Eye of the Storm: Modernism in Ukraine, 1900-1930s', organised by Museo Nacional Thyssen-Bornemisza, Madrid. Alongside his brother, Vladimir, Alexander Bogomazov and Aleksandra Ekster, Burliuk was a pioneering artist in the region, developing an avant-garde language that combined folk subject matter and modernist form. From 1922 he settled in the United States, exhibiting widely throughout his life. London-based Goldenberg amassed a wonderful and important collection, with a particular focus on American and European minimalism, owning pieces by Agnes Martin, Robert Ryman and Rachel Whiteread. Goldenberg was on the boards of a number of leading institutions, including the Museum of Contemporary Art in Chicago and The Art Institute of Chicago. 

Three Nude Studies, one signed B L Harper, pastel, 38 x 28cm, F & G, a seated figure in charcoal, signed, 39 x 29cm, F & G, and one other pastel (after Cezanne), 45 x 30cm, F & G

Oscar Wilde. De Profundis: The Complete Text, with an introduction by Vyvan Holland, number 151 of 195 copies signed by the editor, contemporary binding by G. A. Cramp & Sons Ltd, 8vo, London: The Collector's Book Club, 1949; John Rewald. The Ordeal of Paul Cezanne, number 15 of 100 copies, portrait frontispiece, further b/w plates and illustrations in text, contemporary red morocco, 8vo, London: The Collector's Book Club, 1950; J. M. Scott. Vineyards of France: Paintings and drawings by Keith Baynes, number 14 of 50 copies signed by the artist, coloured frontispiece, further plates throughout, contemporary red morocco, 8vo, London: The Collector's Book Club, 1950; and two others, similar (5). *CR occasional light spotting and browning particularly to title page and endpapers, extremities slightly bumped and faded.

A large collection of art reference books including; From Pisanello to Cezanne, Masterpiecs of the J. Paul Getty Museum, Sources of Art Nouveau by Stephan Tschudi Madsen, An Impressionist Legacy The Collection of Sara Lee Corporation and others Provenance Personal library of Prof. Theodore V. Buttrey Born in Havre, Montana, USA December 29th, 1929, his family moved to Corpus Christie TX and later to Austin TX. He went to primary school at St. Joseph's, MN and to high school at Philip Exeter Academy, NH, where he acquired a solid background in ancient Greek. He was admitted to Princeton University graduating in Classical Studies in 1950.Soon afterwards he married Marisa Maciá who gave him four children. After graduation, he taught Classics at Yale and later at the University of Michigan, where he retired. Having moved to Cambridge, England, he become Keeper of the Department of Coins and Medals at the Fitzwilliam Museum and later honorary keeper until his death January 9th, 2018. He was also Associated Professor at the Faculty of Classicsome, University of Cambridge.Between 1989 and 1991 he was also appointed president of the Royal Numismatic Society UK.

An extensive library of art / architecture interest to include Cezanne, Van Gogh, Japanese Ceramics, Constable & others (60+)

Lillemor Bengston (Maler des 19./20. Jhs.). Tierdarstellungen, Mädchenporträt und Porträt von „Paul Cezanne“. Tuschfederzeichnungen bzw. Pastell, re./u./sign., eines dat. 1942, teilw. bez., eines hi./Gl. gerahmt bzw. gerahmt, 27 x 23 bis 44 x 37 cm.

Books - Art and Art History - including Cezanne, French Impressionism, Turner, Monet, Toulouse-Lautrec, Constable, Van Gogh, Leonardo da Vinci, art auctions, techniques, etc; Children's Books and Comics - including Enid Blyton, Alison Uttley, Battle, Disney Magazine, Shoot, Roy of the Rovers, etc, qty

A mixed lot comprising a ceramic phrenology head, a metal cereal storage canister, a print after Cezanne, and a painted tin biscuit truck.

New York: Lamplight Collection of Modern Art, 1975. Hardcover art book featuring Le Cabanon De Jourdan by Paul Cezanne (French, 1839-1906) on the cover. 91-pages of post-impressionism artwork from well-known artists. Georges Seurat, Albert Dubois-Pillet, Paul Signac, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United StatesCondition: Good.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, to one side of a picture postcard depicting a panoramic view of Cannes from the terrace of the hotel and restaurant La Pergola, n.p. (Mougins, Cote d´Azur), n.d. (July 1937), to Max Pellequer (´Mon cher ami´), in French. Picasso provides his friend with the name and address of the hotel he is staying at, the Hotel Vaste Horizon in Mougins, and continues to write ´Je viens de recevoir votre lettre. Je vous ecrirai bientot. Votre ami mais vraiment´ (Translation: ´I've just received your letter. I'll write to you soon. Your friend but truly´). Hand addressed by Picasso. An attractively penned letter with good association. EXMax 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 stayed at the Hotel Vaste Horizon in July 1937, accompanied by his muse and lover Dora Maar, having just completed Guernica a month earlier. They were visited there by various friends including Man Ray, Paul & Nusch Eluard, Roland Penrose and Lee Miller, the latter capturing various photographs of the party.

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)

Kandinsky (Wassily). Uber das Geistige in der Kunst, insbesondere in der Malerei, mit acht tafeln und zehn originalholzschnitten, Zweite Auflage, Munich: R. Piper & Co., 1912, 8 monochrome plates after the Ravenna mosaics, Durer, Raphael, Cezanne and Kandinsky, ten original woodcut designs to text by Kandinsky, 5pp. advertisements to rear, original printed wrappers with woodcut design by Kandisnky to upper cover printed in green, some marks and soiling and a little fraying and wear, dark ink stain to foot of spine and lower left corner of upper wrapper, pale waterstain to lower outer corner of rear wrapper, 4to (24 x 18.5 cm)QTY: (1)NOTE:Gore Rifkind Coll. 161; The Artist and the Book, 137; Roethel 82-92.The second edition (appearing just a few months after the first) of "One of the most important manifestos of modern art. Kandinsky's book is anti-materialist and anti-naturalist, calling for painting that goes beyond a recording of the visible world. The non-objective woodcuts are historically important as early graphic demonstrations of the artist's thesis." (The Artist and the Book).

Sir Lawrence Gowing CBE RA, British 1918-1991 - Wood: Blue and Yellow Analysis, 1962; oil on board, 50.9 x 76.3 cm (ARR) Provenance: with Marlborough Fine Art Ltd., London, no.LOL4972 (according to the label attached to the reverse of the frame); private collection Note: Gowing was a pupil of William Coldstream and protégé of Bloomsbury art critic Clive Bell. As a portrait artist his sitters include Lord Attlee and Lord Halifax. As with Victor Pasmore, another artist involved with the Euston Road School, Gowing developed an abstract language in the late 1950s and 60s, as seen in the present work. A painting of a similar theme is now in the Tate Collection, 'Wood: Parabolic Perspective, 1963'. 1963He 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.

Peter August Böckstiegel 1889 Arrode/Westfalen - 1951 Arrode/Westfalen Akt im Freien. 1914. Aquarell und Tempera. Links oben signiert und datiert. Auf Japan, punktuell auf Zeichenpapier montiert. 48 x 32,7 cm (18,8 x 12,8 in). Unterlagepapier: 44,7 x 58 cm (17,6 x 22,8 in). [SM]. • 1913/14 Studium an der Akademie der Bildenden Künste in Dresden bei Oskar Zwinscher und Otto Gussmann. • Entstanden während des Sommeraufenthaltes in Goppeln bei Dresden, wo Böckstiegel sich der Freilichtmalerei widmet. • Das akademische Thema setzt er völlig frei im Geiste Cézannes und van Goghs um. PROVENIENZ: Sammlung Hans-Wilhelm Wiebe, Bielefeld. Frank Wiebe, Hamburg. Sammlung Hermann-Josef Bunte, Hamburg/Bielefeld. AUSSTELLUNG: Peter August Böckstiegel. Retrospektive zum 100. Geburtstag, Landesmuseum für Kunst- und Kulturgeschichte, Münster, 5.3.-7.5.1989, Kat.-Nr. 69. Sammlung Bunte, Positionen der Klassischen Moderne, Kunst-Museum Ahlen, 25.02.-28.05.2007; Lyonel Feininger Galerie, Quedlinburg, 01.12.07-02.03.2008; Museum Moderne Kunst, Passau 09.08.-29.09.2008; Egon Schiele Art Centrum, Krumau 31.10.08.-01.02.2009; Ernst Barlach Stiftung Güstrow 27.09.09-17.01.2010; Kunsthaus Apolda Avantgarde 24.01.-05.04.2010, S. 53 (mit Farbabb.). Der Westfälische Expressionismus, Kunsthalle Bielefeld, 31.10.2010-20.2.2011, S. 24 (m. Farbabb.). Das Glück in der Kunst. Expressionismus und Abstraktion um 1914. Sammlung Bunte, Kunsthalle Bielefeld, 21.3.-3.8.2014, S. 28 (m. Farbabb.). LITERATUR: Vita von Wedel, P. A. Böckstiegel. Werkverzeichnis der Pastelle, Aquarelle und Zeichnungen, Bielefeld 2001, WVZ-Nr. A 46. Aufrufzeit: 08.06.2024 - ca. 17.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPeter August Böckstiegel 1889 Arrode/Westfalen - 1951 Arrode/Westfalen Akt im Freien. 1914. Watercolor and tempera. Signed and dated in upper left. On Japon, mounted on paper. 48 x 32.7 cm (18.8 x 12.8 in). Backing paper: 44,7 x 58 cm (17,6 x 22,8 in). [SM]. • In 1913/14 the artist studied at the Dresden Art Academy in the classes of Oskar Zwinscher and Otto Gussmann. • Made during a summer stay in Goppeln near Dresden where Böckstiegel was painting plein-air. • He rendered the academic theme absolutely freely in the spirit of Cezanne and van Goghs. PROVENANCE: Hans-Wilhelm Wiebe Collection, Bielefeld. Frank Wiebe, Hamburg. Hermann-Josef Bunte Collection, Bielefeld. EXHIBITION: Peter August Böckstiegel, Retrospektive zum 100. Geburtstag, Westfälisches Landesmuseum, Münster, March 5 - May 7, 1989, cat. no. 69. Sammlung Bunte, Positionen der Klassischen Moderne, Kunst-Museum Ahlen, February 25 - May 28, 2007; Lyonel Feininger Galerie, Quedlinburg, December 1 - March 2, 2008; Museum Moderne Kunst, Passau, August 9 - September 29, 2008; Egon Schiele Art Centrum, Krumlov October 31 - February 1, 2009; Ernst Barlach Stiftung Güstrow September 27 - January 17, 2010; Kunsthaus Apolda Avantgarde January 24 - April 5, 2010; p. 53 (illu. in color) Der Westfälische Expressionismus, Kunsthalle Bielefeld, Ocotber 31, 2010 - February 20, 2011, p. 24 (illu. in color). Das Glück in der Kunst, Expressionismus und Abstraktion um 1914. Sammlung Bunte, Kunsthalle Bielefeld, March 21 – August 3, 2014, p. 28 ()illu. in color. LITERATURE: Vita von Wedel, P.A. Böckstiegel - Werkverzeichnis der Pastelle, Aquarelle und Zeichnungen, Bielefeld 2001, cat. no. A 46. Called up: June 8, 2024 - ca. 17.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ornate gilt-framed oil on canvas Italian city scene, 64cm x 84cm overall, an impressionist style painting on canvas, D Foster 1959, oil on board, cliff edge, a framed Cezanne copy, and 2 others pictures

Cezanne, Paul (1839-1906) "Tête de jeune Fille" 1873, Radierung, u.r. i. Druck sign./dat., PM 13x10,5cm (m.R. 35x28cm), leichte Altersspuren

This antique second state drypoint etching on paper is after French Post-Impressionist artist Paul Cezanne's original Guillaumin au Pendu (Portrait of the Artist Guillaumin with the Hanging Man.) Housed in a dark brown wood with silver color and cyan borders and a black velvet mat. Artwork dimensions: 8"L x 8"H. Frame size: 14.50"L x 14.50"H x 1"W. Artist: Paul Cezanne (French 1839-1906)Issued: c. 1873Country of Origin: FranceCondition: Age related wear.

After Paul Cezanne (1839-1906) & Jacques Villon (1875-1963)- A framed and glazed etching - 'La Montage Sainte-Victoire'. Inscribed Cezanne Pinx - Jacques Villon. With Musee du Louvre blind stamp lower left. Signed in the print only. Plate size 43.5cm x 60.5cm. (Foxing to lower left and bottom margin, slipped in frame)

Art history reference & collector's reference books. A collection of coffee table books on art, artists and antiques. The lot to include Britten's Old Clocks and Watches, ninth ed., The History of Painting and Sculpture New Horizons and The History of Painting and Sculpture Great Traditions, Money, Gauguin, Vincent and Cezanne by himself, Decorative Printed Maps, Greek Gold by Williams and Ogden, The Dictionary of Victorian Painters by Christopher Wood, Wrist Watches by Selby, and a collection of handbooks on cigarette card issues from the early 20th century. Approx. 23 in lot.

‡ ZAO WOU-KI 趙無極 (Chinese-French, 1920-2013) etching with aquatint - Composition I from Randonnées (Rambles), Ågerup 257, signed (in Pinyin and Chinese) and dated in pencil 74, unumbered, (pl) 24 x 18.5cmsProvenance: private collection MonmouthshireAuctioneer's Notes: This composition is the first of five created for the book Randonnées (Rambles) by Roger Caillois. It was printed by Atelier Bellini and published by Yves Rivière in 1974. There were also three artist’s proofs and 4 hors commerce (out of trade) impressions on Japan paper. A master of post-war art and among the highest-selling Chinese painters of his generation, Zao Wou-Ki synthesized tenets of modernism, calligraphy, and traditional Chinese landscape painting. Using primarily oil paint, watercolor, and eventually ink, Zao developed a unique style defined by contrasting colours, intense linework, and lyrical abstraction. Like traditional Chinese landscapes, Zao’s paintings function as fragments of larger scenes and possess a fluidity, transparency, and graceful luminosity that reflect the interior energies of the artist himself. Zao cited Paul Cezanne, Henri Matisse, and Pablo Picasso as early influences. In 1948, he moved to Paris, where he immersed himself in the city’s avant-garde scene and befriended artists including Alberto Giacometti, Joan Miro and Sam Francis. During his lifetime, Zao exhibited worldwide. He received the Japan Art Association’s Praemium Imperiale Award for Painting and the Ordre national de la Légion d’honneur. Today, his work can be found in the collections of the Louvre, Pomidou Centre, the Gudggenheim Museum, the Metropolitan Museum of Art, and the Tate.Literature: Ågerup, J. (1994). Zao Wou-Ki - The Graphic Work - A Catalogue Raisonné 1937-1995, Copenhagen: Heede & Moestrup.Comments: glazed ready to hang

ROBIN CHRISTIAN ANDERSEN* (Wien 1890 - 1969 Wien)Dame mit HutAquarell und Tusche/Papier, 22 x 17 cmSCHÄTZPREIS °€ 300 - 500STARTPREIS °€ 300Österreichischer Maler des 20. Jahrhunderts. Sein Vater Christian Georgius Andersen stammte aus Dänemark, führte ab 1880 in Wien eine Werkstätte für Dekorationsmalerei. Besuchte 1905 bis 1907 die Malschule Robert Scheffer in Wien, gemeinsam mit Anton Faistauer, Gustav Schütt, Anton Peschka und John Quincy Adams. 1907 bis 1908 an der Malschule von Gustav Bauer (ehem. Heinrich Strehblow). 1909 und 1910 mit Anton Faistauer und Gustav Schütt Reisen zum Monte Verità bei Ascona in Italien. Mit Egon Schiele, Anton Faistauer, Albert Paris Gütersloh und Anton Kolig in der Neukunstgruppe, auch Mitglied der Kunstschau und später der Neuen Secession und des Sonderbundes. 1913 heiratete seine Schwester Anton Faistauer. Ab 1920 Mitglied im Hagenbund, 1921 Mitbegründer der Gobelin Manufaktur und Teilnahme an Ausstellungen der Salzburger Vereinigung Wassermann. Bekannte Schüler wie Franz Elsner, Lisi Engels, Kurt Absolon, Eduard Angeli, Joannis Avramidis, Liselott Beschorner, Johann Fruhmann, Leopold Ganzer, Franz Grabmayr, Giselbert Hoke, Alfred Kornberger. Blieb der figurativen Darstellungsweise treu, schuf v.a. Porträts, Landschaften und Stillleben. Intensive Auseinandersetzung mit Paul Cezanne, malerischer Expressionismus von Farbe und Form mit Annäherung an die Neue Sachlichkeit. Werke v. a. im Besitz des Leopoldmuseum, der Albertina und der Österreichischen Galerie Belvedere. Gerhart Gerardus Joseph Richard Frankl (* 12. Mai 1901 in Wien; † 24. Juni 1965 ebenda) war ein österreichischer Maler. Im Sommer 1920 ging Frankl erstmals als Malschüler zu Anton Kolig nach Nötsch ins Kärntner Gailtal. Mit Bohdan Heřmanský und Johann Wolfgang Schaukal gehörte Frankl zu den ersten Mitgliedern der Werkstattgemeinschaft, die Kolig um sich scharte. Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

KARL JOSEF GUNSAM* (Wien 1900 - 1972 Wien)Konvolut aus vier ZeichnungenWohnstraßeBleistift/Papier, 30 x 42,1 cmverso Nachlassstempel K. GunsamMännliches PortraitBleistift/Papier, 39,87 x 29,8 cmmonogrammiert, verso Nachlassstempel K. GunsamGebirgeBleistift/Papier, 29,8 x 39,7 cmverso Nachlassstempel K. GunsamDorfstraßeBleistift/Papier, 21,1 x 30,3 cmverso Nachlassstempel K. GunsamSCHÄTZPREIS °€ 150 - 350STARTPREIS °€ 150Gunsam 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 ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

FRANZ GRABMAYR (1927 Pfaffenberg - 2015 Wien) "Wasserfall"Öl auf Leinwand. 1989.92 x 75 cm.Verso mit Pinsel in Schwarz auf der Leinwand signiert "Grabmayr", datiert sowie auf dem Rahmen betitelt und bezeichnet "G89".Franz Grabmayr gilt als „Vater“ der österreichischen Jungen Wilden und Maler der vier Elemente. Seine Kindheit, die er in eigenen Worten als sehr glücklich bezeichnet, verbrachte er auf dem Land in Kärnten, prägt seine tiefe Naturverbundenheit. Mit zwölf Jahren beginnt er erste Aquarellbilder zu malen, arbeitet später jedoch zunächst als Lehrer und unterrichtet Mathematik und darstellende Geometrie. Eine erste erfolgreiche Ausstellung im Künstlerhaus Klagenfurt „Junge Kärtner Begabungen", 1952, weckt seinen Wunsch nach einer professionellen Ausbildung und führt ihn an die Akademie der Bildenden Künste in Wien, wo er unter Robin Christian Andersen studiert. 1956 unternimmt er Reisen nach Paris, London und Amsterdam und studiert dort im Besonderen die Werke von Cezanne und Rembrandt. Cezanne bleibt Zeit seines Lebens eines seiner wichtigsten Vorbilder. 1962 beschließt er seinen Lehrberuf endgültig aufzugeben und sich ausschließlich der Malerei zu widmen. 1964 zieht er in das leerstehende Schloss Rosenau im Waldviertel und lebt dort zurückgezogen mit seiner Familie. Hier ist er der Natur am nächsten und hat Raum seine eigenwillige, ihm typische Malweise zu entfalten. Er vertieft sich in Studien der Farbe und deren Eigenschaften, experimentiert mit selbst gemischten Farben und Pigmenten und fügt nicht selten Materialien der Natur wie Sand, Asche und Stroh hinzu. Über die Jahre werden seine Bilder immer pastoser; mit Spachtel und breitem Pinsel trägt er Schichten um Schichten übereinander auf, so dass Bilder von einzigartiger Dimensionalität entstehen. Reliefartig ragen seine Bilder haptisch in den Raum. Selbst sagt er über seine typisch pastose Malweise: „Das ist mein Inneres. Es ist mein Wesen. Dieses haptische Empfinden, das materielle Empfinden, das Pastose […] Mir geht es um das Körperliche, das Räumliche […] So habe ich Licht und Schatten gehabt. Gleichzeitig auch ein Formprinzip. Das war für mich so wichtig... Das ist alles etwas sehr Persönliches […] wenn ich male, da erlebe ich körperlich, haptisch, sinnlich, materiell. Also das ist eine angeborene Sache."Die Albertina in Wien widmet dem Maler vom 17. Mai bis zum 13. Oktober diesen Jahres eine Einzelausstellung, in der Gemälde und Graphiken gezeigt werden.

Follower of Cezanne. Head and shoulders study, oil on board, 26.5cm x 28.5cm.

Ada Augusta Wolfe (American, 1878-1945). Oil on canvas laid board titled "Mississippi River - Autumn Foliage" depicting an impressionist landscape of fall trees against a river landscape, 1935. Signed and dated along the lower left. Additionally inscribed "2007 Willow Ave No. Mpls. Minn. Sept. 1935" along the verso.Ada Augusta Wolfe, born in Oakland, California in 1878, moved to Minneapolis at 11 and studied at the Minneapolis School of Art and the Art Students League in New York under notable artists like William Merritt Chase and Frank Vincent DuMond. Her work, influenced by painters like Rembrandt and Cezanne, won awards, including first prize at the Minnesota State Fair in 1914 for "Sails on Lake Minnetonka." Wolfe's artistic philosophy emphasized freedom and rebellion against commercialism. She taught art in Minneapolis and is featured in the book "Pioneer Modernists - Minnesota's First Generation of Women Artists" alongside other prominent Minnesota artists including: Wanda Gag, Frances Greenman, Clara Mairs, Alice Hugy, Elsa Laubach Jemne, Evelyn Raymond, and Jo Lutz Rollins.Unframed; height: 16 in x width: 20 in. Framed; height: 24 in x width: 27 3/4 in x depth: 1 3/4 in.Condition:The colors are bold and deep and the surface is stable. There are no losses or signs of restoration under UV light. Light wear to the frame. Some soiling to the verso, likely original to the artistic process.

Two biographical sets and sixteen Thames & Hudson presentation volumes: 1. J. Ewing Ritchie - 'The Life and Times of the Right Honourable William Ewart Gladstone', in six volumes (The London Printing and Publishing Company, London); 2. F. W. Farrar - 'The Life and Work of St. Paul', in four volumes (Cassell & Company, London). 3. The sixteen annual Walter Neurath Memorial Lectures (1969-1986) in slipcases and comprising: Nikolaus Pevsner - Ruskin and Viollet-le Duc: Englishness and Frenchness in the Appreciation of Gothic Architecture (1969); Peter Murray - Piranesi and the Grandeur of Ancient Rome (1971); Glyn Daniel - Megaliths in History (1972); John Summerson - The London Building World of the Eighteen-Sixties (1973); Michael Sullivan - The Three Perfections: Chinese Painting, Poetry and Calligraphy (1974); C. V. Wedgwood - The Political Career of Peter Paul Rubens (1975); E.H. Gombrich - Means and Ends: Reflections on the History of Fresco Painting (1976); J. R. Hale - Renaissance Fortification: Art or Engineering? (!977); Stuart Piggott - Antiquity Depicted - Aspects of Archaeological Illustration (1978); Kenneth Clark - What is a Masterpiece? (1979); Roy Strong - Britannia Triumphans; Inigo Jones, Rubens and Whitehall Palace (1980); Michael Levey - The Painter Depicted - Painters as a Subject in Painting (1981); H. C. Robbins Landon - Mozart and the Masons: New Light on the Lodge 'Crowned Hope' (1982) David M. Wilson - The Forgotten Collector; Augusts Wollaston Franks of the British Museum (1984); Lawrence Gowing - The Originality of Thomas Jones (1985); John Rewald - Cezanne, the Steins and their Circle (1986).

* ARCHIE FORREST RGI (SCOTTISH b. 1950), SYMPHONY oil on canvas, signed, titled label versoframed image size 121cm x 136cm, overall size 136cm x 152cm Exhibition label verso: December 1991, The Portland Gallery, London Note: Archie Forrest is considered to be the leading living Scottish Colourist artist of his generation. Born in Glasgow in 1950 he attended Glasgow School of art between 1969 and 1973 prior to becoming a tutor at the school for seven years. Forrest gave up teaching in 1985 to devote his time to being a full time artist. He was elected a member of the Glasgow Institute of Fine Arts in 1988 and is a regular exhibitor at the Royal Scottish Academy since 1975. The artist has won many prizes and collectors for his work throughout the world. In this "Symphony" Forrest demonstrates his ability to create texture and colour whilst capturing the viewers’ attention with his playful use of perspective and reflection. Forrest’s use of broad and angular marks is reminiscent of Cezanne, while the use of colour place him in the legacy of Scottish Colourists S J Peploe and Cadell. The artist uses his self-portrait to guide us through a variety of his work. Challenging the viewer to look closer for the still life, landscape and portraiture within the picture whilst creating reference to the great Scottish colourists Cadell and J D Fergusson in the portraits on his studio floor. Forrest has created a painting which demonstrates his artistic ability, but also one the viewer can revisit over and over again.

Decorative Modern Reproductions after artist Auguste Renoir, Max Leibermann and Paul Cezanne, etc, various sizes (6)

Sammlung: von 12 Werkverzeichnissen in 17 Bdn. Versch. Formate, Künstler u. Einbde. ╔Enthält WVZ folgender Künstler:╗ Miro (Lithogr. V u. VI), Robert Motherwell, James Coignard, Maximilien Luce (2 Bde.), Mark Rothko, Piet Mondrian (2 Bde.), Paul Cezanne (2 Bde.), Joseph Beuys, Rene Magritte (3 Bde.), Velazquez, Toulouse-Lautrec. - Tls. in OVP.

CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com

ARR Ivon Hitchens (1893-1979) - Oil painting - "Sussex River, Evening Sky", sign and dated 1969, canvas 16ins x 29.25ins, in white gilt frame and glazed Provenance: New Grafton Gallery, 1a Grafton Street, London, W1X 3LB. Owner: Mr Peter Barkworth, 17 Flask Walk, NW3 1HH. Exhibited:19.8.75 Artist's handwritten note to verso, one with title, date and measurement, name and address. The other " You are advised NOT to remove this glass without first consulting the artist or Waddington Galleries" Note: Ivon Hitchens is much-loved for his landscape painting featuring swathes of bright colour. Influenced by Cezanne and Matisse, he chose to focus on the subject matter right in front of him, the landscapes of Sussex where he lived, and the South Downs. Selected pictures from the Peter Barkworth Collection This glazed work has not been inspected out of its frame. Under UV light it appears to be in good condition with no obvious damage/loss/restoration. Provenance is as stated in the catalogue.

* ARCHIE FORREST RGI (SCOTTISH b. 1950), SYMPHONY oil on canvas, signed, titled label versoframed image size 121cm x 136cm, overall size 136cm x 152cm Exhibition label verso: December 1991, The Portland Gallery, London Note: Archie Forrest is considered to be the leading living Scottish Colourist artist of his generation. Born in Glasgow in 1950 he attended Glasgow School of art between 1969 and 1973 prior to becoming a tutor at the school for seven years. Forrest gave up teaching in 1985 to devote his time to being a full time artist. He was elected a member of the Glasgow Institute of Fine Arts in 1988 and is a regular exhibitor at the Royal Scottish Academy since 1975. The artist has won many prizes and collectors for his work throughout the world. In this "Symphony" Forrest demonstrates his ability to create texture and colour whilst capturing the viewers’ attention with his playful use of perspective and reflection. Forrest’s use of broad and angular marks is reminiscent of Cezanne, while the use of colour place him in the legacy of Scottish Colourists S J Peploe and Cadell. The artist uses his self-portrait to guide us through a variety of his work. Challenging the viewer to look closer for the still life, landscape and portraiture within the picture whilst creating reference to the great Scottish colourists Cadell and J D Fergusson in the portraits on his studio floor. Forrest has created a painting which demonstrates his artistic ability, but also one the viewer can revisit over and over again.

FOUR HARDBACK ART THEMED BOOKS TO INCLUDE LANDSCAPE PAINTING, J M W TURNER, MONET AND CEZANNE

Manner of Cezanne, still life of a bowl of apples, oil on canvas, signed or inscribed indistinctly 'Chaplin' on the overlap, 12" x 18" (30 x 46cm), unframed.

Joachim Gasquet. Cezanne, portrait frontispiece, further illustrations, original half parchment with spine label, folio, Berlin: Bruno Cassirer Verlag, 1930; John Rewald. Paul Cezanne: The Watercolours, A Catalogue Raisonne, photographic frontispiece, further b/w and colour illustrations throughout, original publishers cloth with slipcase, 4to, London: Thames and Hudson, 1983, and three others, similar, v.s. (5). Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#2)" depicting a three-dimensional geometric abstract composition in bright colors against a solid white background, 1989. Signed, dated 1989 and 1991, and titled along the verso. The artwork comes with a custom-built crate for shipping.Provenance: Private Minnesota Collection.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.Artwork; height: 43 in x width: 32 in x depth: 10 1/2 in. Crate; height: 55 1/4 in x width: 43 3/4 in x depth: 19 in.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted wood wall sculpture titled "Structurist Relief, New York #7," depicting a three-dimensional geometric composition in blue, yellow, and white, 1938. Incised signature, number, and date along the verso. Additionally inscribed "Copyright Charles Biederman 1978 // Made in U.S.A. // All Rights Reserved."Provenance: McCormick Gallery, Chicago; Private Minnesota Collection.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: 36 in x width: 24 in.

Art & Fashion - a collection of art and fashion books including Cezanne (Tate Publishing, 1996), Vincent by Himself, Monet by Himself, Matisse: a Retrospective (1988), others including Vogue, the Art of Harry Potter, Modigliani, Pisarro, L. S. Lowry, Emile Gallé, etc (23)

* Camberwell School of Arts & Crafts. Typography, 1939-1951, a small collection of 13 booklets and small posters displayed on 4 large stiff card leaves (56 x 50.5 cm), advertising the typography and bookbinding department of Camberwell School of Arts and Crafts, comprising: The War Work of the School, 1939-1945; Prospectus for Camberwell for 1949-50 &1948-49; Poster advertising typography classes; Jubliee 1898-1948 and Jubilee Order of Proceedings (with monochrome illustrations by Edward Ardizonne); Paul Cezanne on painting, 1948; Typography, 1939-40; Speech by Leonard Daniels, 1948; Tam O'Shanter, 1949; Elegy Written in a Country Churchyard by Thomas Grey, together with two lithographs on paper, laid onto card, titled The Menagerie and The Circus, 23 x 30.5 cm (9 x 12 ins), mounted (56 x 50.5 cm)QTY: (6)

CEZANNE PAUL: (1839-1906) French Post-Impressionist painter. A.L.S., P Cezanne, two pages, 8vo, Le Tholonet, 8th September 1897, to [Emile] Solari, in French. Cezanne states that he has just received l'Avenir Artistique et littéraire which Solari had been kind enough to send to him, and continues to remark 'Votre père viendra manger du canard avec moi, dimanche prochain. Il sera aux olives, (Le canard bien entendu.) - Que ne pouvez-vous être des notres' (Translation: 'Your father is coming to eat duck with me next Sunday. It will be with olives, (the duck of course.) - Why can't you be one of us'), concluding by asking Solari to keep him in his good memory for the future. A couple of very light, minor creases and a few extremely minor stains, only very slightly affecting part of the text and signature, about VGEmile Solari (1873-1961) French novelist and poet, son of Philippe Solari (1840-1906) French sculptor, a contemporary and close friend of Paul Cezanne and Emile Zola.

Charles Vilette, French 1885-1946 - Bois-Colombes, before 1912; oil on board, signed lower right 'C. Vilette', 53.9 x 72.9 cm Provenance: Roger Fry (according to the labels attached to the reverse); Pamela Diamond, by descent; private collection, gifted by the above  Exhibited: Grafton Gallery, London, 'Second Post-Impressionist Exhibition', October-December 1912 (according to the annotated label attached to the reverse) Note: the artist exhibited in pivotal exhibitions in the early 20th century, including 'Neue Kunst. Erste Gesamt-Ausstellung' at Hans Goltz, Munich in 1912 (alongside Gabriele Münter, Paul Cezanne and Vincent van Gogh), the 'Second Post-Impressionist Exhibition. British, French and Russian Artists' at the Grafton Galleries, London and 'The Grafton Group. Vanessa Bell, Roger Fry, Duncan Grant. Second Exhibition' at the Galleries of the Alpine Club, London in 1914. 

Aquarell über BleistiftFriedrich Wilhelm Mook 1888 Frankfurt - 1944 Frankfurt "Harlekin - nach Cezanne" verso sign. u. bez. FWMook Cop. nach Cezanne 46 x 27,5 cm Lit.: AKL

A collection of contemporary artwork to include the following: Gerry Baptist RE (b. 1935) The Iphone Players - After Cezanne Woodblock Print Edition 2/5 Signed and numbered by the artist Measures 38cm x 30cm. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Alex Hartley Nowhere Island - 2012 Situations  Nowhereisland certificate of citizenship, 2012, a limited edition 28/100, No Where is Land sample,  Measures 54cm x 46cm. Nowhereisland is an artistic project by British artist Alex Hartley, made in 2012. It was an artwork that grew from the proposition ‘what if an Arctic island travelled south?’1 The fundamental premise of the project was to create the world’s newest nation, a borderless country with citizenship open to all. The project began in 2004 with a Cape Farewell expedition Hartley made to the High Arctic region of Svalbard. There, his quest was to find and claim a new island.2 Calling upon the practices of nineteenth century exploration, particularly of the Arctic, Hartley kept an expedition journal. Under an entry titled SEARCH, he describes his pursuit: I find myself monitoring the coastline, watching and checking it against the latest maps and charts: searching for the possibility of new land that might have been revealed from within a retreating glacier. In many places, the charts do not match what I am seeing. Massive glacial retreat has created a changed landscape. Days are passing. We are over three-quarters of the way through our expedition and as yet there is no sign of the imagined island for which I am searching. It was important to Hartley that the island be the physical product or evidence of a changing climate. Only then could it appear as ‘new’ territory, previously unmapped and unclaimed. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. Michael Robinson (b. 1991) Axon & Neuron - 1991 Oil on Canvas Measures 41cm x 46cm  With Flowers East Invoice copy. Michael Dover-Robinson was born in 1953 in Lancashire, UK. In 1979 he began studies for a fine art degree, specializing in painting, at Manchester Metropolitan University where he graduated with first class honours and mentions in art history and liberal studies. In 1985 he went on to further painting studies at the Slade school, University college London. The following years were spent painting full time, in London. In 1993, he moved into the world of fine art printing at a big London publishing house. Where he was the studio director and master print maker. Since 2005, he divides his time between England and France composing and playing Jazz music and building guitars. Exhibitions include: The Angela Flowers gallery, London.1988,The Solomon Gallery, London.1986, The Sue Williams gallery, London.1987, The Flower gallery, London.1987, The Bloomsbury theatre, London.1985, The Kingsgate gallery, London.1987, The Arts centre,Chester.1978, Theatre Clwyd, North Wales.1978, The Grundy House museum, Blackpool.1978, The Manchester Print Workshop gallery, Manchester.1977. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A Group of Decorative Modern Reproductions, After Auguste Renoir, Paul Cezanne, Paul Gaugin and others; together with further smaller examples (18)

After Cezanne (French,1839-1906), "Eau Forte Originale Portrait of Guillaumin", etching and drypoint, posthumous impression, signed and titled in pencil, 14x18cm, framed and glazed.

After Gustav Klimt (1862-1918, Austrian), coloured print, 'The Kiss', framed, mounted, and under glass, measuring 50cm x 84cm, & 70cm x 102cm, together with three other coloured prints, to comprise 'Pink Roses, Chinese Vase', after Samuel John Peploe (1871-1935, British), 'Lac d'Annecy', after Paul Cezanne (1839-1906, French), and an Australian aboriginal print (4)

Large Cezanne print in a mid Century frame (a/f), together with a bevelled edge mirror and a Marsden Prophet village scene print. Both prints framed. Largest measures 101 x 85cm.

Susi Pop, Paul Cezanne, "Frau im gelben Sessel", gerahmt, Dispersion/Acryl auf Leinwand, 82 x 66 cm (ohne Rahmen)

Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.br/>Condition:The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.

ANDREW HORROD (BRITISH, 20TH CENTURY)Cezanne Fever signed and dated 'Andrew Horrod 1995' (lower right) watercolour 45 x 64cm ARR

A vintage 20th century 1970s Musée Marmottan  impressionists exhibition poster. The exhibition including artists such as Renoir, Millet, Daumier, Manet, Pissarro, Monet, Cezanne and Bonnard. The poster featuring an impressionist landscape painting. Measures approx. 60cm x 40cm.

* Gowing (Sir Lawrence, 1918-1991). An archive of correspondence, handwritten notes, typescript drafts of articles and book chapters, photocopies, printed art history articles, photographs and related documents by, and assembled by, Lawrence Gowing, circa 1950-1990, including approximately 40 autograph letters from Adrian Stokes to Lawrence Gowing, the majority discussing and detailing ideas on art and various aesthetic topics, circa 1952-1972, including a number with original postmarked envelopes, a small group of photographs of Stokes in Venice and Italy, two early albums containing writings and photographic reproductions of works by Vermeer and his contemporaries, with handwritten accompanying notes by Gowing, an offprint article on Degas inscribed to Gowing by Theodore Reff, articles by Richard Wollheim inscribed to Gowing by the author, a typescript copy of a book of chapters on Dutch 17th century painting by Gowing, an article on Vermeer's View of Delft, on Turner and the French rivers, etc., an offprint 'Haydon versus Shee' by Quentin Bell, with presentation inscription by the author to Gowing dated 1960, offprints and related documents from Svetlana Alpers, printed and typescript articles on Matisse and Picasso, including Leo Steinberg's Resisting Cezanne: Picasso's Three Women, circa 1966, mostly contained in envelopes and card folders QTY: (a carton)