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George Leslie Hunter (Scottish 1877-1931) The Mill Dam, Fife Oil on canvas, with a portrait of Tom Honeyman (1891-1971) (to the reverse) 63.3 x 76.6cm Provenance: Dr Tom J. Honeyman (1891-1971); By descent; Sotheby's, Gleneagles, Scottish and Sporting Pictures and Sculpture, 5 September 2001, lot 1377; Sotheby's, West Lothian, Scottish Pictures, 15 April 2002, lot 228; Private Collection; By whom sold, Sotheby's, London, The Scottish Sale, 29 September 2010, lot 88; Private Collection, Gloucestershire “Everyone must choose his own way, and mine will be the way of colour” - George Leslie HunterGeorge Leslie Hunter first visited Fife in 1919, and this mill was a favoured and recurring theme, the subject of a series of paintings from the early 1920s. The present work, painted c.1923, demonstrates how he had absorbed the influence of French art, including Matisse and above all Cezanne. The landscape and buildings are executed in rapid brushstrokes of strong colour across the canvas. It is a painting which demonstrates how Hunter would use colour from across the spectrum to build up form.On the reverse of the work is a portrait of Tom Honeyman (1891-1971), which was probably painted seven years after the landscape. Honeyman was originally a doctor but in 1929 abandoned the medical profession to pursue his passion for art, becoming first a dealer, and later the director of Kelvingrove Art Gallery. He was a great supporter of the Scottish Colourists and, above all, of his close friend Hunter. Honeyman wrote the first monograph dedicated to Hunter’s work in 1937, and the latter painted the former on several occasions.

New York: Stewart, Tabori & Chang, 1990. Large hardcover art book with its original dust cover featuring Still Life With Drapery by Paul Cezanne (French, 1839-1906) on the front, and The Girlhood Of The Virgin by Francisco de Zurbaran on the back. 653-pages collective artworks from various notable artists. Rembrandt, Aert Van Der Neer, Francois Boucher, and many more. Artist: Colin EislerIssued: 1990Dimensions: 9.75"W x 11.75"H x 1.75"DManufacturer: Stewart, Tabori & ChangCountry of Origin: United States

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 States

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.

RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, one page, 8vo, n.p., n.d., to [Claude] Monet (‘Mon cher Monet’), in French. Renoir explains that he didn’t meet Mr. Chocquet, who was preoccupied with family matters and had to leave suddenly to return to his country, and continues, in part, ‘Il a pense que tres probablement tu aurais besoin de tes toiles de ta boite etc. Je l'ai tranquillise en le priant de me les envoyer chez moi. Il a ete enchante de la propisition.......Il est donc probable que lorsque tu recevras cette lettre tes bibelots seront chez moi.......En tous cas tu n'ay pas a te presser; tu ne me genes en rien’ (Translation: ‘He thought that most likely you would need your canvasses from your box etc. I reassured him by asking him to send them to my house. He was delighted with the proposal…..It is therefore probable that when you receive this letter your trinkets will be with me…….In any case you don’t have to hurry; you don’t bother me at all’). With two old tape stains to the left, one affecting several words of text (which remain legible), otherwise about GClaude Monet (1840-1926) French Impressionist painter.Victor Chocquet (1821-1891) French government official and art collector, a friend of Renoir whom Chocquet commissioned to paint his portrait. In 1899 when Chocquet’s significant collection was sold at auction it included thirty-two works by Cezanne, eleven by Renoir, eleven by Monet and one each by Pissarro and Sisley. Other artists represented in the collection included Corot, Courbet and Delacroix.

Paul Cezanne (French, 1836 - 1906) "Entree de Ferme, rue Remy, Auvers" Etching and Aquatint Sight Size: 5 x 4 in. Overall Framed Size: 13 x 10.5 in. Framed behind glass.

CORINTH, LOVIS1858 Tapiau/Ostpreußen - 1925 ZandvoortTitel: Stillleben Metall. Datierung: 1910. Technik: Öl auf Leinwand. Maße: 77 x 50cm. Bezeichnung: Signiert und datiert rechts mittig: LOVIS CORINTH 1910. Rahmen/Sockel: Modellrahmen. Provenienz:- Dr. Pater, Königsberg- Stadträtin Lemmel, Königsberg- Dr. A. Sonnenburg, Berlin- Gemälde-Galerie C. Nicolai, Berlin (Aufkleberfragment)- Galerie Franz Brutscher, München- Galerie Aenne Abels, Köln (Aufkleberfragment)- Privatsammlung Ausstellungen:- Kunstsammlung Stadt Königsberg, 1924- Galerie Aenne Abels, Köln 1956 Literatur: - Berend-Corinth, Charlotte: Lovis Corinth - Die Gemälde, Werkverzeichnis, neu bearbeitet von Béatrice Hernad, München 1992 (2. Aufl.), WVZ.-Nr. 440, Abb.Drei Metall-Gegenstände hat Lovis Corinth hier auf einem Tisch arrangiert. Sie geben dem Stillleben den Namen. Eine Messingkanne, ein glänzend aufpolierter Zinntopf mit Deckel und eine bronzene Figur bilden den Dreiklang, mit dem der Maler sich selbst herausforderte und mit dem er seine virtuosen Fähigkeiten unter Beweis stellte. Ergänzt werden diese Drei durch die ebenfalls harte, durch den Prismenschliff aber ganz anders das Licht reflektierende, blaue Bleikristall-Vase mit zwei üppigen, hellrosa-farbenen, großblütigen Chrysanthemen. Eine ockergelbe Wand schließt den Innenraum, in dem sich dieses Arrangement befindet, in der Tiefe ab. Andere Elemente im Hintergrund sind nur vage angedeutet. Ihre Farbwerte sind für die Komposition wichtig, sie lenken aber nicht von der Konzentration auf den Vordergrund ab.Die Lichtquelle, die das Arrangement in ein warmes Licht taucht, liegt schräg rechts, außerhalb des Bildraums. Mit kühnen Pinselstrichen modelliert Corinth die glänzenden Gefäße. Die Farben Rot, Braun, Gelb und Weiß, pastos und additiv aufgetragen, ergeben das brillante Messing, in dem sich die bronzene Figur spiegelt. Das kühle Blau, Schwarz, Weiß und graue Mischtöne nutzt er für das Zinngefäß, wobei sich auch hier Reflektionen der rotbraunen Tischplatte in der Wandung spiegeln. Ganz anders gibt Corinth die optische und haptische Beschaffenheit der Bronze wider. Es gibt hellere Partien, mit mehr Grün-Anteil, sparsam mit Weiß und Gelb gehöht und dunklere, schwärzliche Bereiche, die dem Licht abgewandt sind. Ein starker Schattenwurf auf dem Sockel markiert den Lichteinfall deutlich. Die obere Bildhälfte dominieren die beiden fedrigen Blütenköpfe, die wie ein Feuerwerk das Licht bündeln.Die wie zufällig auf dem Tisch versammelten Objekte haben als Gesamtkomposition eine ungemein starke Präsenz. Sie berühren jeweils fast die Grenzen des Bildraums; ganz nah hat der Künstler den Bildausschnitt gewählt, ein minimaler Farbraum trennt die Objekte von der Realität außerhalb des Bildes.Dieses eindrucksvolle Stillleben malte Lovis Corinth 1910, auf dem Zenit seines Ruhms. Der Sohn eines gutbürgerlichen Gerberei- und Landwirtschafts-Unternehmers aus der Ostpreußischen Provinz hatte in Königsberg, München, Antwerpen und Paris die bestmögliche künstlerische Ausbildung genossen. Nach einer ersten Phase in Berlin, Ende der 1880er Jahre, ließ Corinth sich zunächst in München nieder. Dort geriet er jedoch mehr und mehr in die Flügelkämpfe des Kunstbetriebes. Und Berlin zog ihn an. Dort zeigte er seit Anfang der 1890er Jahre erfolgreiche Ausstellungen in den Galerien Fritz Gurlitts und Eduard Schultes. Sein Freund Walter Leistikow vermittelten ihm einträgliche Portrait-Aufträge der Berliner Gesellschaft und 1901 übersiedelte Corinth endgültig in die Reichshauptstadt. Im selben Jahr stellte er in der Galerie Paul Cassirers aus und wurde Mitglied der Berliner Sezession, bald schon deren Vorstandsmitglied. Die Zusammenarbeit mit Paul Cassirer gestaltete sich besonders erfolgreich. Zum einen vermittelte der Galerist und Verleger Ausstellungen Corinths in andere deutsche Städte, zum anderen verkaufte er fertige Bilder des gefeierten Meisters direkt aus dem Atelier. In Paul Cassirers Galerie begegnete Corinth aber auch den Arbeiten von Cezanne und Manet, die ihn begeisterten. In seiner Pariser Zeit waren die modernen impressionistischen Strömungen von dem jungen Kunststudenten noch nicht wahrgenommen worden.Heute wird Lovis Corinths Kunst gerne mit dem Etikett des Spät-Impressionismus versehen. Tatsächlich sah er selbst seine Wurzeln als kraftvoll die Form auflösender Kolorist aber eher in seiner Auseinandersetzung mit den "Alten Meistern" des 17. Jahrhunderts, mit Rubens, Rembrandt und vor allem Frans Hals: "Der Frans Hals hat genauso gemalt, der Kerl, wie ich. Ich brauche mich gar nicht zu verstellen" schrieb er 1907 an seine Frau. (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: Ausst.-Kat. Lovis Corinth und die Moderne, Musée d'Orsay, Paris/Museum der bildenden Künste, Leipzig/Kunstforum Ostdeutsche Galerie, Regensburg, Bielefeld 2008, S. 35).)Ein großer Unterschied zu den Impressionisten ist allerdings, dass Lovis Corinth immer auch Historienmaler war. Mythologische, antike oder christliche Geschichten setzte er nicht überhöht, sondern naturalistisch mit seinem flirrend kraftvollen Pinselduktus in Szene. Dabei waren die Gestalten von Bacchus und seinem Gefolge für Corinth ein immer wieder bearbeitetes Thema. Im Gott des Weines und des Rauschs sah Corinth wohl auch sein "alter Ego"; mehrfach hat er sich selbst als Bacchus portraitiert.Die bacchantische Seite Corinths, des unangepassten Normensprengers, findet sich auch in diesem Gemälde. Denn bei der Statuette handelt es sich um die Bronze-Replik eines antiken, ein Öllicht tragenden Silens, der in Pompeji gefunden wurde (Foto). In mindestens zwei weiteren Stillleben hat Lovis Corinth diese Leuchter-Figur verwendet, die für ihn vermutlich eine spezielle Bedeutung hatte. Dieses Stillleben mit seinem teils eruptiven Pinselduktus ist ein deutlicher Beleg für die Bedeutung, die Lovis Corinth für die moderne gegenständliche Malerei in Deutschland hat. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog

Holzmann, Adolf(1890-1968)Halbfigürlicher weiblicher Akt mit Orange, 1912Öl auf Leinwandsigniert und datiert rechts unten74 x 73 cmgerahmtAdolf Holzmann war ein aus der Schweiz stammender Künstler. Er wirkte Ende des 19. und Anfang des 20. Jahrhunderts. Dieser Darstellung des halbbdeckten Akts ist geprägt durch Zurückhaltung und den Einsatz dunkler Farbtöne. Einzig durch die zentral platzierte Orange ist ein leuchtender Farbakzent gesetzt. Das Werk beeindruckt durch die Stimmung und das Kolorit. Das Kolorit erinnert an Cezanne, vor allem durch die strenge Komposition mit der Orange als zentralem Element. Die porträtierte Dame selbst, wendet den Blick ab und begibt sich so in eine Gesamtkomposition.

GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Stillleben, 1967Gouache/Papier, 49 × 63,5 cmsigniert G Hessing, datiert 67verso beschriftet StillebenSCHÄTZPREIS € 1000 - 2000STARTPREIS € 1000Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.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.

GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Brooklyn Bridge, 1965Gouache und Bleistift/Papier, 48 × 65 cmsigniert G Hessing, datiert 65beschriftet NYSCHÄTZPREIS € 1600 - 3000STARTPREIS € 1600Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.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.

GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)BlumenGouache/Papier, 47,8 × 64,8 cmsigniert G HessingSCHÄTZPREIS € 1000 - 2000STARTPREIS € 1000Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.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.

GUSTAV HESSING* (Czernowitz 1909 - 1981 Wien)Stadtansicht, 1963Gouache und Bleistift/Papier, 48 × 64,3 cmsigniert G Hessing, datiert 63SCHÄTZPREIS € 1600 - 3000STARTPREIS € 1600Österreichischer Maler des 20. Jahrhunderts. Stammte aus Czernowitz/Buwokina, studierte 1926 bis 1931 an der Akademie der bildenden Künste bei Ferdinand Andri und Karl Fahringer. 1946 Mitbegründer der Künstlergruppe Der Kreis, ab 1958 Mitglied der Wiener Secession. Arbeiten der Zwischenkriegszeit stilistisch dem Expressionismus zuzuordnen, Einflüsse von Richard Gerstl und Edvard Munch. Ab den 1940er Jahren Hinwendung zur gegenständlichen Abstraktion und später Einflüsse von Kubismus und Surrealismus, im Umkreis von Edgar Jené. Malte vor allem Porträts, Landschaften und Stillleben. Einfluss von Paul Cezanne, im Spätwerk Auseinandersetzung mit dem Tachismus. 1979 Ausstellung in der Österreichischen Galerie Belvedere.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.

Sarah Wood Dependant (AOP), 2023 Oil on Sized Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Sarah grew up in Yorkshire, close to the city of Leeds and the Yorkshire Dales. Since graduating from Wimbledon School of Art, London, Sarah has maintained a professional practice, occupying various studios across London, and now settled in Space Studios, Peckham, London. Following a successful exhibition at Falmouth Art Gallery in Cornwall, curated by Cath Wallace, Sarah's work has been shown and sold through Quantum Contemporary Art, London at art fairs around the world. For many years Sarah has immersed herself in the painting of pears and continues to develop her skills and contemporary style, whilst also applying the same concentration to a series of small flower paintings. The genre of still life painting and particularly painting pears, has dominated Sarah's practice for some time. Looking at the paintings of Cezanne and Morandi, or the more elaborate Dutch still life painters, she has become fascinated by how the depiction of simple everyday objects can convey something more than the things seen. Education BA (Hons) Fine Art Painting, Wimbledon School of Art, London Select Exhibitions/Awards 2023 Exhibitions: Art Palm Beach, USA Art Market Hamptons, USA Quantum at West Horsley Place, Surrey Affordable Art Fair, Hong Kong Seattle Art Fair, USA Royal Academy Summer Exhibition 2023 Always On My Mind 2, Fitzrovia Gallery, London Affordable Art Fair, Battersea, London (October) Gallery Representation Quantum Contemporary Art, London Statement about AOAP Submitted Artwork Painting on such a small scale, on paper, was a challenge, but I followed the same principles as I do for my larger paintings on linen.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Claire Houlihan Chandos Place Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Claire Houlihan The Yellow Door Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Sarah Wood Admiration (AOP), 2023 Oil on Sized Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Sarah grew up in Yorkshire, close to the city of Leeds and the Yorkshire Dales. Since graduating from Wimbledon School of Art, London, Sarah has maintained a professional practice, occupying various studios across London, and now settled in Space Studios, Peckham, London. Following a successful exhibition at Falmouth Art Gallery in Cornwall, curated by Cath Wallace, Sarah's work has been shown and sold through Quantum Contemporary Art, London at art fairs around the world. For many years Sarah has immersed herself in the painting of pears and continues to develop her skills and contemporary style, whilst also applying the same concentration to a series of small flower paintings. The genre of still life painting and particularly painting pears, has dominated Sarah's practice for some time. Looking at the paintings of Cezanne and Morandi, or the more elaborate Dutch still life painters, she has become fascinated by how the depiction of simple everyday objects can convey something more than the things seen. Education BA (Hons) Fine Art Painting, Wimbledon School of Art, London Select Exhibitions/Awards 2023 Exhibitions: Art Palm Beach, USA Art Market Hamptons, USA Quantum at West Horsley Place, Surrey Affordable Art Fair, Hong Kong Seattle Art Fair, USA Royal Academy Summer Exhibition 2023 Always On My Mind 2, Fitzrovia Gallery, London Affordable Art Fair, Battersea, London (October) Gallery Representation Quantum Contemporary Art, London Statement about AOAP Submitted Artwork Painting on such a small scale, on paper, was a challenge, but I followed the same principles as I do for my larger paintings on linen.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Claire Houlihan Piano Player Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Claire Houlihan Fluffy Cat Pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Claire is a figurative impressionist painter in oils, acrylic and watercolour who lives in Lancing, West Sussex. Painting often mundane objects and scenes, contrast of light and shadow and themes of emptiness and stillness. Influences include Hopper, Hockney, Cezanne and contemporary American Impressionists. Education The Arts Institute at Bournemouth Brighton College of Technology Select Exhibitions/Awards The Summer Exhibition 2023 Brighton Artist's Open Houses 2022,23 The Sussex Contemporary 2022 Statement about AOAP Submitted Artwork Chandos place is in Covent Gardens, I saw this pretty trio of pastel faced buildings one time, the building says Chandos street but it's actually in Chandos Pl. The piano player was playing on Hove promenade on a mobile box piano. The fluffy cat is a regular visitor to my garden and the yellow door is in one of Hove's regency Squares.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Constantinos Maleas (Greek, 1879-1928)Côtes de Phaliron signé en grec (en bas à droite)huile sur carton dur29 x 46.5cm (11 7/16 x 18 5/16in).signed in Greek ( lower right)oil on cardboardFootnotes:ProvenancePrivate collection, Athens.Bonhams Greek Sale of 23 May 2006, lot 105.Acquired from the above sale by the present owner.Entrusting his subject to the truth of vision, Maleas transformed an austere stretch of the Attic shoreline into a bold embrace of undulating shapes and forms. Vibrant colours, intense, richly-layered brushstrokes, sharp outlines, and daring juxtapositions of tonalities result in a dynamic and rhythmical work that conveys the artist's emotional response to the landscape. Following in the steps of Cezanne, he rendered the natural environment not only as coloured patterns of light, but also as a complex system of volume, mass and structure, venturing to penetrate into its inner world and discover its enduring character and essential content. The painting may have been included in the artist's 'Attic Seashore' series shown at the Zappeion Hall in March 1920.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Hommage à Greco signé et inscrit en grec (au revers)huile sur toile100.5 x 36cm (39 9/16 x 14 3/16in).Peint vers 1935-1937.signed and inscribed (on the reverse)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated).'As a former student of Parthenis, I was taught a theory 'tirée de Cezanne et du Gréco', and actually, when I was a student, I had copied—with such passion—many parts of his divine Concert of Angels.'N. Engonopoulos1 As noted by artist Argyris Stylianidis, who was a student of Parthenis at the Athens School of Fine Arts from 1930 to 1934, the master used to assign some of his students to copy El Greco paintings at the National Gallery in Athens.2 1 Letter to his wife-to-be Lena Tsiokou-Engonopoulou, September 11, 1959. See N. Engonopoulos, ...and I Love you Madly, Letters to Lena 1959-1967 [in Greek], Ikaros editions 1993/2007, p. 85. 2 Interview by E. Hamalidis, Kathimerini newspaper, July 27, 1997, p. 24. See also K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 409.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Constantinos Parthenis (Greek, 1878-1967)Alentours de l'Acropole signé et daté 'C. Parthenis 1909' (en bas à gauche)huile sur toile80 x 85cm (31 1/2 x 33 7/16in).Peint en 1909.signed and dated (lower left)oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner.ExpositionsParis, Galerie de la Boétie, Group Techni (Oeuvres d'un Groupe d'Artistes Héllènes), September 1-30, 1919, no. 98.Athens, Athens Technological Institute exhibition hall, Exhibition of Paintings by C. Parthenis, January 26 - February 9, 1966, no. 20 (listed in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Metamorphoses of the Modern, The Greek Experience, May 14 - September 13 1992, no. 6 (illustrated in the exhibition catalogue p. 33). Athens, National Gallery - Alexandros Soutzos Museum, Constantinos Parthenis, Painting an Ideal Greece , June 20, 2022 - April 9, 2023 (illustrated in the exhibition catalogue, p. 163). LittératureC. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963 (illustrated).Y. Tsarouchis, 'The Work of Parthenis', speech delivered at the Athens Technological Institute on February 2, 1966 (mentioned). Nea Estia magazine, no. 927, February 15, 1966, pp. 232, 268 (discussed).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).The Greek Painters, 20th Century, vol. II, Melissa editions, Athens 1975, pp. 19-20, 23 (discussed), p. 35, fig. 18 (illustrated).Xydis, Propositions for the History of Modern Greek Art, vol. I, Olkos editions, Athens 1976, pp. 75-76 (discussed).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, p. 363 (discussed).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 220 (mentioned).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 110 (mentioned), p. 161 (listed).A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, pp. 59, 206 ft. ie (mentioned).Landscapes of Greece by Parthenis, 1984 Calendar / February, National Bank of Greece, Athens 1983 (illustrated).C. Christou, Konstantinos Parthenis, Vienna-Paris-Athens, (exhibition catalogue), Foundation for Hellenic Culture - Vienna Academy of Fine Arts, Athens 1995, pp. 23, 24 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, p. 829, ft.199 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 472 (mentioned).A. Kotidis, Constantinos Maleas, Adam editions, Athens 2000, p. 61 (mentioned).A. Kouria, Michalis Economou, Adam editions, Athens 2001, pp. 119, 126 fn.35 (discussed), p. 120 (illustrated).K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. I, p. 178 (mentioned), vol. III, 674 (catalogued), vol. reproductions I, pl. LXXVII (illustrated).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 47-50, 97-99 (discussed), pp. 44-45, 46, 47 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 74, p. 66 (mentioned), p. 418 (catalogued), p. 163 (illustrated).Parthenis is not a painter who depicts nature.He is a painter who interprets nature. Z. Papantoniou1A Parthenis masterpiece, as iconic and breathtaking as Slope and the Port of Kalamata at the Athens National Gallery, Alentours de l'Acropole is a powerful landscape unleashed in paint. The creative force and freedom in the handling of colour finds its match in the boldness of execution, creating a pictorial formulation that lies at the core of his achievement as a painter. Setting his easel outdoors, Parthenis radically simplified nature to concentrate on chromatic and painterly matters. Rather than striving for topographical accuracy or resorting to the picturesque, he relied exclusively on purely pictorial means to capture the exuberance and zest of Attica's nature. Although he painted the view in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. The Parthenon, this classical masterpiece and symbol of everlasting value, blends in harmoniously with the violet luminosities and variable pulse of the surrounding landscape, underscoring its infinite and eternal nature. Parthenis treats the monument not as a lifeless relic of ancient glory but as a living organism; a form of eternity constantly reborn in the present. In his hands the Parthenon becomes a verse of lyric poetry. In such an evocative setting inhabited by dematerialised forms and charged with timeless references, painting is lifted to the realm of music, the most immaterial of all arts. Every part of the landscape is animated by colour and lit by grace, endowing the composition with an allegorical evocation, elegiac feel, and universal character. Land, monument and sky come together, with sharp outlines, bold colouring, and cooler and warmer tones producing a rhythmic outcome. To make such an irresistibly beautiful and at the same time well-formulated picture, Parthenis drew from the colour expressionism of the fauves and Cezanne's use of paint as a structural element. While the work of Cezanne taught him compositional discipline, Gauguin and the Pont-Aven School encouraged him to focus on the expressive use of line and elevate the horizon, extending the pictorial surface to the limits of the canvas without the illusion of receding space. Much like the post-impressionists, Parthenis was interested not only in delivering a fabric of brushstrokes and colour marks but also in weaving together light and structure in a unified pictorial experience.Suffused with eternal light, Alentours de l'Acropole transcends the fleeting sensations of the impressionist glance to remould the luminous landscape by means of pure colour's suggestive force. The artist's perceptive handling of the natural environment, combined with a poetic interpretation of visual reality come together in a work of great artistic sensitivity, poetic charm and spiritual uplift. This seminal work claims the eye and provokes the viewer's emotional participation, reflecting the vision of an artist loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century.2 1 Z. Papantoniou, Valkanikos Tahydromos newspaper, May 11, 1920.2 See D. Papastamos, Painting 1930-1940, Astir Insurance edition, Athens, 1981, p. 68.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Paul Cezanne (Aix-en-Provence 1839 – 1906 Aix-en-Provence)Tête de jeune FilleRadierung mit Roulette. 1873. 13,4 x 10,7 cm (32,5 x 24,9 cm). In der Platte signiert. (17)Venturi 1160. Cherpin 4 III (von III). – Druck in Braun auf festem, etwas getöntem Bütten von „(France)“. – Rückseitig mit leichten Montierungsresten und sehr schön erhalten.

RAYMOND FRANCIS McINTYRE (1879-1933). Street in Saint Valery-sur-Somme, signed with monogram, inscribed as title on a label attached to the backing, oil on board 12 x 10 inProvenance: Private Collection, Hay on Wye. For two comparable works by the artist cf. A Street in Valery-Sur Somme offered for auction at The International Art Centre, Auckland on 22 nd July 2015 and also on the 2nd December 2015; and a 1919 View of a street in Chelsea offered at Dunbar Sloane, New Zealand on 21 July 2010The artist was born in Christchurch, New Zealand in 1879 and studied at the Canterbury School of Art. He studied there under Robert Herdman Smith, and Alfred Walsh. From 1906-1908 he shared a studio with fellow artist Leonard Booth. Between 1899-1908 his distinctive loosely brushed paintings blended influences from Petrus van de Velden with post Impressionism. Seeking further training and experience McIntyre travelled to London in 1909, settling into a rented studio in Cheyne Walk, Chelsea. He was excited by the art of Cezanne, Van Gogh, Utrillo and Matisse and their influences can be seen in his landscape works of the following years. Like the French painters he sought a spontaneity and breadth in the handling of paint. He was taught by William Nicholson, George Lambert and Walter Sickert amongst others. Over the next decade he exhibited frequently at The Goupil Gallery. His street scenes were a subject matter that McIntyre shared with the Camden Town Group, though his actual technique differed widely from those artists. In October 1918 he held a large exhibition at the Eldar Gallery, London; and in 1921 as a member of the Monarro Group, he exhibited at the Goupil Gallery alongside Paul Signac, M.L. Pissarro and Le Maitre. From 1920 onwards McIntyre introduced more river and park scenes into his subject-matter. Thereafter along with Frances Hodgkins and his early friend and fellow student Sydney Thompson he became a New Zealand artist who stayed on in the United Kingdom rather than returning to his home country.Raymond McIntyre was a close friend of Edward McKnight Kauffer (1890-1954) who studied in Paris at the Academy Moderne (1913-1914, and his French street scenes are usually dated to around that time on account of that association; though the example at Minster may date from a few years later. A number of street scenes by McIntyre were exhibited in the 1984 Raymond McIntyre Survey Exhibition'. Auckland City Art Gallery, New Zealand.

§ Zdzislaw Ruszkowski (1907-1991) Landscape from Ireland signed 'Ruszkowski' (lower right) oil on canvas 76 x 50cm Provenance: Sale; Christie's South Kensington, Thursday 11 May 2004, lot 93 Born on July 12, 1907, in Tomaszow, Poland, Zdzislaw Ruszkowski displayed an early affinity for art, no doubt influenced by his father - a painter, who took delight in bringing his son with him on painting expeditions. His formative years were marked by a deep curiosity and passion for painting, leading him to pursue formal education in the field of fine arts. Ruszkowski's academic journey took him to the Cracow Art Academy, where he honed his skills under the guidance of renowned Polish artists. In 1935, he travelled to Paris, where his work would take on a different character and became more explicitly influenced by masters including Titian, Van Gogh, Cezanne and Rembrandt – stylistically disparate, though linked by their dexterous handling of light and colour. It was during this period that Ruszkowski began to develop his unique artistic approach, characterized by a fusion of classical techniques with modern sensibilities.In 1939, interrupted by the outbreak of war, Ruszkowski joined the Polish army in France. Travelling across Europe by foot, Ruszkowski ultimately found himself in Scotland, where he met and married his wife, Jennifer McCormack. Following the war, Ruszkowski and his wife divided their time between London, Cornwall and his studio in Lyme Regis. Whilst he is, perhaps, not a well-known name today, during his lifetime Ruszkowski was able to support his family through his work as an artist, exhibiting alongside the London Group and being represented by galleries including the Leicester Galleries, Roland, Browse & Delbanco and Jablonsky Gallery.Ruszkowski's body of work is a testament to his mastery of various artistic genres. He was a versatile artist, equally adept at portraiture, landscape and still life painting. His signature style combined meticulous attention to detail with a profound emotional depth. Ruszkowski's use of colour and light was particularly noteworthy, as he skilfully captured the nuances of the human form, the grandeur of nature and the subtleties of everyday objects.

After Paul Cezanne (1839-1906), oleograph, 'The Card Players', displayed within a painted frame, measuring 34cm x 42cm, & 51cm x 58cm overall

Cezanne, Paul, 1839 Aix-en-Provence – 1906 ebenda: Portrait des Malers Armand Guillaumine mit dem Hängendem MannRadierung auf Arches-Bütten, 11x14,8cm, Z1. 1873, posthume Edition von 1906 oder später - Vgl. Cherpin 2-3 .

* Phelan Gibb (Henry William, 1870-1948). Still Life with Bowls and Vases of Flowers, circa 1946, oil on canvas, signed ‘Phelan Gibb’ lower left, 50.7 x 61cm (20 1/8 x 24 ins), in an Italian wooden frame, with a label verso typewritten 'Lent by Lucy Werthheim', frame 59.5 x 69 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).

* Phelan Gibb (Henry William, 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise. Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).

▴ Claude Venard (French, 1913-1999)Still life of a vase of flowerssigned 'C.VENARD' l.r., inscribed 'No 5' verso and 'FV1081' on the stretcher, oil on canvas130 x 162cmClaude Venard was a highly individual post-Cubist painter known for his still-lifes, landscapes, and eccentric portraits.Influenced by the late work of Cezanne, Picasso and Braque, Venard also reduced motifs to geometric outlines, but marked a revolutionary break with the tradition by embracing a richer, more intense colour palette. He applied paint liberally with a palette knife to enhance the drama of his paintings.Condition ReportFramed: 151 x 183cmThe artwork is framed in a way that exposes the edges of the canvas. One nail used to secure the canvas to the stretcher is missing on the right edge. Canvas a little loose in stretcher to the touch, but stretching it too tightly may be detrimental to the areas of heavy impasto. Indentation to black area in upper left corner. Surface dust and dirt which is pronounced on thick paint. Small patches of craquelure mainly throughout the black and pink painted areas. Currently appears stable with no major losses. On very close inspection some very small losses and craquelure can be seen but nothing that affects overall enjoyment of the work. Some intentional areas of glossiness and some areas with a matt finish. Marked with oil patches to the reverse. Please see additional detail images. Under UV light no obvious retouching shows, some areas fluoresce green but this appears to be some sort of varnish.

Cezanne, Paul (Aix-en-Provence 1839 - 1906 ebenda),"Tete de jeune fille", Radierung auf Papier, signiert im Druck unten rechts P. Cezanne (18)73, 22 x 17.5 cm (PA), unter Glas gerahmt

Paul Cézanne (1839-1906) after.Le Déjeuner sur L'Herbe (Cherpin 9; Leymarie-Melot 9)Lithograph printed in colours, a fine richly inked impression, 1894 printed in 1914, numbered 36 in pencil, printed by Auguste Clot, Paris, on chine-volant paper, with full margins, sheet 355 x 458mm (13 7/8 x 18in)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.

Tetzen-Lunds, Chr. Samling af moderne fransk malerkunst. 5 S. Mit zahlreichen Abbildungen auf Tafeln. 33 x 24 cm. OHalbleinen. Kopenhagen 1934.Eines von 100 nummerierten Exemplaren des Kataloges der Sammlung Tetzen-Lunds' (1852-1936), die 107 Werke aller Größen der Zeit versammelte, von Cezanne über Picasso, Renoir, van Gogh und Derain bis zu Monet, Matisse und Modigliani. - Wohlerhalten. - Dabei: Hollstein & Puppel. Kunstauktion XL - Sammlung C. Brose Berlin. 111 S., 1 Bl. Mit XXX Tafeln. 28,5 x 21,5 cm. Halbleder d. Z. mit goldgepr. RSchild. Berlin 1928. - Versteigerungskatalog der legendären Sammlung, die auch einen großen Bestand an Werken von Karl Blechen umfasste (154 Losnummern).

AFTER PAUL CEZANNE (French 1839-1906), 'The card players', print, 75cm x 87cm, framed.

20th century mixed media study in the manner of Cezanne, a mountainous landscape with trees. Signed lower left. Framed. Overall including frame 57x77cmGlazed frame, not examined out of the frame but condition appears to be fine

A quantity of Art books; Cezanne, Dutch Painting etc. Plus a collection of Russian Fairy-Tales illustrated by Alexander Kurkin.

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 aul 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.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.

Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.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 aul 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.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.

HERMÈS Seidencarré "PROMENADE AU PAYS DE CEZANNE". Akt. NP.: 460,-€. 100% Seide. Paul Cézanne, einer der einflussreichsten Künstler der modernen Malerei gehörte zunächst der impressionistischen Bewegung an. Seine postimpressionistische Werke beeinflussten nachfolgende Künstler und legten den Grundstein für den Übergang von den Kunstkonzepten des 19. Jahrhunderts zu radikal anderen Ausdrucksformen wie dem Kubismus und dem Fauvismus. 2006, zum hundertsten Todestag des Künstlers, gab Hermès eine limitierte orangefarbene Ausgabe der Promenade Au Pays Cezanne von Toutsy zugunsten der LA SOCIÉTÉ PAUL CEZANNE heraus. Handrollierte Säume. 90 x 90 cm. Box anbei. Sehr guter Zustand.| HERMÈS silk scarf "PROMENADE AU PAYS DE CEZANNE". Retail price: 460,-€. 100% silk. Paul Cézanne, one of the most influential artists of modern painting initially belonged to the Impressionist movement. His Post-Impressionist works influenced subsequent artists and laid the foundation for the transition from 19th century art concepts to radically different forms of expression such as Cubism and Fauvism. In 2006, on the centenary of the artist's death, Hermès issued a limited orange edition of Toutsy's Promenade Au Pays Cezanne for the benefit of LA SOCIÉTÉ PAUL CEZANNE. Hand-rolled hems. 90 x 90 cm. Box enclosed. Very good condition.

Art: Series published by BCA '....by himself' including Cezanne, Monet, Vincent, Manet, William Morris, Ed. Naylor (9 Vols) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).

THREE DECORATIVE PRINTS FRAMED INCLUDING TURNER, CEZANNE AND KANDINSKY VARIOUS SIZES (3)

A quantity of Art related books to include Cezanne, The Charm of Rossetti, Masterpieces of Oriental Rugs etc.

λ&nbspJOHN CYRIL HARRISON (BRITISH 1898-1985) MATURE AND IMMATURE RINGED PLOVERS Watercolour Signed (lower right) 18.5 x 30.5cm (7¼ x 12 in.)Provenance: By descent to The Hon. Mrs James Tennant Please Note: This lot was likely purchased by a family member of Oskar Reinhart and then passed down by descent Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.   Condition Report: Unexamined out of glazed frame. Some very light spots of staining scattered throughout.  Please note Dreweatts is not liable for damage to frames.  Condition Report Disclaimer

Two contemporary poster prints, to comprise a David Hockney 'A Bigger Splash' at the Tate Gallery exhibition poster & 'The Avenue At The Jas De Bouffan (c.1874-5)' by Paul Cezanne (1839-1906), the largest measures 55cm x 70cm overall, plus two others

A selection of hardback and other books, primarily relating to history of art and history, titles including: The Making of the English Working Class, by E. P. Thompson; Everyman’s Dictionary of Pictorial Art, 2 vols; The Story of Art, by E. H. Gombrich; Reformation and Society, by A. G. Dickens; A Concise History of Painting: From Giotto to Cezanne; Eastern and Western Europe in the Middle Ages, by various authors; Art History and its Methods, by Eric Ferne; and others, contained across two boxes

A selection of hardback and other books, primarily relating to 20th century and modern art, titles including: Manet by Himself, by Juliet Wilson-Bareau; British Art Since 1900, by Sir John Rothenstein; Theories of Modern Art, by Herschel B. Chipp; Expressionism, by Waldemar George; Cezanne: A Pictorial Biography, by Jean de Beucken; Art Since Pop, by John A. Walker; Modernism, Criticism, Realism, by Charles Harrison and Fred Orton; 20th Century Drawings, by Una E. Johnson; and others, one box.

A box of books on Music & Art; Degas, Van Dyck, Cezanne, The Concise Oxford Dictionary of Music, etc.

Amadeo Modigliani (1884-1920), Oil Painting on Canvas Image Size: 17 7/8 by 14 7/8 inches (45.5 by 38 cm) All measurements are approximate. Signed (upper right) Amedeo Modigliani (1884-1920), Italian painter and sculptor, was born in Livorno on July 12, 1884, and died in Paris, France, on January 24, 1920. settled in Paris after 1906. His early works were influenced by Cezanne. His personal artistic style was formed after 1915. Later, he became interested in primitive art, African art, Greek antiquity and early medieval art. Whether painting or sculpture, he places great emphasis on the role of line, using it to master the body and surface of his works. With elegant rhythm and interest, the color layers are rich and strong and striking. He pursues the beauty of deformation in his figures. The portraits and female nudes are slightly exaggerated, and in addition to highlighting individual characteristics, he pays particular attention to the charm and sense of the times. Please read our policy carefully:1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Large mixed media on canvas painting depicting a multitude of nude men with one man falling from the sky. Signed illegibly and dated 1991 along the lower right. Possibly inspired by works by Cezanne.Height: 60 in x width: 84 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

BELL, Clive (1881-1964). Since Cezanne, London, 1922, 8vo, half tone plates, original cloth. FIRST EDITION, with a pencil note by Eden and highlighting. With 12 other art reference books, some PRESENTATION COPIES to Anthony Eden. (13)BELL, Clive (1881-1964).  Since Cézanne. London: Chatto and Windus, 1922. 8vo (195 x 130mm). Half title, half tone plates (some spotting). Original blue cloth, spine with printed label (label rubbed, without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate). FIRST EDITION, with a pencil note on p.65 (illegible, probably not in Eden's hand, illustrated) and on p.137, in Eden's hand, regarding "young Oxford intellectuals", and with his highlighting throughout. With 12 other related books including Julius Meier-Graefe's Degas (London, 1923, 4to, monochrome plates, original buckram, NUMBER 225 OF 1,000 COPIES), Constantin Antoniade's Trois Figures de la Renaissance. Pierre Arétin. Guichardin. Benvenuto Cellini (Paris, 1937, 8vo, wrappers, NUMBER 141 OF 155 COPIES, PRESENTATION COPY, inscribed, "A Mr. Anthony Eden, hommage et respectueuse admiration, Antoniade, Genève, Janvier 1938", Austen Chamberlain's Seen in Passing ... Foreword by Lady [Ivy] Chamberlain (London, 1937, 4to, plates, original cloth, the author's wife's PRESENTATION COPY of this account of an architectural travelogue through Europe just before The Second World war, inscribed "Anthony [Eden], [?]from Ivy Chamberlain"), Wilfrid Blunt's The Art of Botanical Illustration (London, 1950, large 8vo, plates, some coloured, attractively bound in full red modern calf gilt by Bayntun Riviere, SIGNED BY THE AUTHOR), Kenneth Clark's Piero della Francesca (London, 1951, folio, plates, some coloured, original red buckram, INSCRIBED in a very small hand [?presumably to Anthony Eden], "With all good wishes from Jane & Kenneth Clark, August 1952"), Huntington Cairns & John Walker's Great Paintings from the National Gallery of Art (Washington, 1952, folio, full-page coloured illustrations, original dark blue buckram gilt, FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "For [?illegible word] Eden, with kind regards from his friends at the National Gallery, [signed respectively by:] David Finley [the gallery's first Director], Huntington Cairns, John Walker, Washington, March 5, 1953"), Raymond Nacenta's The Painters and the Artistic Climate of Paris since 1810 (London, 1960, folio, coloured plates, original blue hessian, PRESENTATION COPY, the half title inscribed, "A Lord et Lady Avon, en souvenir de leur visite 'd'avant-première' à l' Exposition des peintures des collections français, Avec les sincères hommages de Ray. Nacenta, Le 27 Juin, 1962"), Catalogue de l' Oeuvre de Georges Braque. Peintures 1936-1941 ([Paris], 1961, 4to, illustrations, some coloured, original coloured decorated hessian boards, ring-bound internally), Henry Maldiney's La Fondation Marguerite et Aimé Maeght (Paris, "Derrière le Miroir, No. 148," 1964, folio, plates and illustrations by Braque, Chagall, Kandinsky, Miro, Giacometti and others, including 6 original lithographs, some coloured, original pictorial boards) and Denys Sutton's Walter Sickert. A Biography (London, 1976, 4to, plates, cloth, PRESENTATION COPY, inscribed, "For Anthony and Clarissa [Eden], with much affection and gratitude, Denys"). The lot sold not subject to return. (13)

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.

‘the door is broken so come quick because thieves could come’ CEZANNE PAUL:(1839-1906) French Post-Impressionist painter & PISSARRO LUCIEN (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books, the eldest son of Camille Pissarro. An excellent, rare joint pair of A.Ls.S. by Paul Cezanne and Lucien Pissarro to a bifolium, commencing with Cezanne's A.L.S., P Cezanne, two pages, small 8vo, Pontoise, 11th December 1872, to Camille Pissarro ('Monsieur Pissarro'), in French. Cezanne writes, in full, 'Je prends la plume de Lucien a une heure ou le chemin de fer aucrait du me transporter dans mes penates. C'est vous dire d'une facon detournee que j'ai manque le train. Inutile d'ajouter que je suis jusqu'a demain mercredi votre hote. Or donc, Madame Pissarro vous invite a rapporter de Paris de la farine pert le pour le petit Georges. Puis les chemises de Lucien de chez sa tante Felicie. Je vous souhaite le bonsoir' (Translation: 'I take up Lucien's pen at an hour when the railway should be transporting me to my penates [home]. This is to tell you in a roundabout way that I missed the train. Needless to add that I am your guest until tomorrow, Wednesday. So, Mrs. Pissarro requests that you bring back from Paris some powdered milk for little Georges. And Lucien's shirts, which are with his aunt Felicity. I wish you a good evening'). Following to the third side of the bifolium is the young Lucien Pissarro's A.L.S., Lucien Pissarro, one page, 8vo, n.p. (Pontoise), [11th December] 1872, to his father ('Mon cher papa'), in French. Pissarro writes, in full (with his spelling mistakes retained), 'Mamman te fait dire que la poerte est cassee que tu viene vite parce que les voleur peuve ruenir. Je te pris si tu veux bien de m'apporte une boite a couleur. Minette te pris que tu lui apporte une baigneuse. Je n'est pas bien ecrit parce que n'etait pas diposee?' (Translation: 'Mama wants you to know the door is broken so come quick because thieves could come. Please bring me a box of paints. Minette begs you to bring her a bathing costume. I am not writing well because I don't feel like it'). Two charming letters with excellent associations. Some light overall age wear, otherwise VG Camille Pissarro (1830-1903) French Impressionist painter.  Georges Henri Manzana Pissarro (1871-1961) French artist who worked in Impressionist and Post-Impressionist styles and was also a designer of textiles, decorative objects, furniture and glassware. Jeanne-Rachel 'Minette' Pissarro (1865-1874) Daughter of Camille and Julie Pissarro, the artist's favourite amongst his seven children. Minette appears in more portraits by Pissarro than any of her siblings. When she became ill at the age of eight, her father represented her decline in a moving series of paintings and drawings including a heart-breaking lithograph depicting her as she lay dying.   

HANS STURZENEGGER (GERMAN 1875-1943)LANDSCAPE WITH STEAMBOAT, NEAR MANNENBACH, SWITZERLAND 'BEI MANNENBACH'Oil on canvas 38.5 x 55.5cm (15 x 21¾ in.)Provenance:Artist's estate, label attached verso, no. 40 By descent to private collection, unknownPossibly, Private Collection, Ferdinand Wortmann, Basel Fritz Nathan, St. Gallen, Switzerland Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland, purchased from the above on 27 November 1944 By descent to The Hon. Mrs James Tennant Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.   

CARL MOLL (AUSTRIAN 1861-1945)OLIVENHAINOil on canvasSigned with monogram (lower left)49.5 x 60cm (19¼ x 23½ in.)Painted in 1931. Provenance:Gallerie Aktuaryus, Zurich where Moll had an exhibition, on 19 June 1934Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland, purchased from the above on 19 June 1934 By descent to The Hon. Mrs James Tennant Exhibited:Zurich, Galerie Aktuaryus, June 1934 Literature:Monthly Journal of the Aktuaryus Gallery, 17 June, 1934, ZurichArthur Roessler, Radio Vienna, Österreichische Rundfunkzeitschrift, Report, vol. 12, no. 35, 22.5, 1936, p.8Cornelia Cabuk, Stella Rollig, Christian Huemer, Carl Moll, Monograph and Catalogue Raisonne, Belvedere, Vienna, 2020, p. 255, no. GE 478, illus. in black & white (recorded with Belvedere no. Ex 43154) Rediscovered portrait by Viennese successionist Carl Moll, hidden away in the private collection of Swiss arts patron Oskar Reinhart comes to market for the very first time. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Carl Moll was born in Vienna in 1861 to Julius Johann Franz Moll and Maria Magdalena Rosina Schmid. Inspired by his uncle Karl Schmid Moll enrolled at the Academy of Fine Arts, Vienna in 1880. Moll studied under Christian Gripenkerl and went on to become the assistant to Emil Jakob Schindler. Shortly after Schindler's death in 1892 Moll married the German actress Anna Sofie Bergen, the widow of Schindler. Significantly Carl Moll was one of the cofounders of the Viennese Secession alongside Josef Hoffman and Gustav Klimt. The Secession was founded by a group of Austrian painters, writers and architects in 1897 to oppose the conservatism of traditional art academies and the forumlaic teachings of the Vienna Academy of the Arts. The group sought to encourage promotion of all arts and creative thinking looking towards the future rather than themes from the past by supporting contemporary artists, both Austrian and international combining ideas from artists and designers. This movement sparked the formation of modern art in Vienna which can be seen to flourish at the turn of the century. In 1905 a number of artists broke away from the secession including Moll who went on to establish the Gallery Miethke. Moll's work is full of light and freshness. He is renowned for mesmerising landscapes and intimate still lifes. The viewer is immediately struck by the sense of harmony created across the composition through the balance of colour and attention to detail. Moll uses the shadows caused by the light hitting the trees to create depth, leading the viewer along the pathway and into the canvas. The broad fluid brushstrokes draw influence from the French neo-impressionists whose work Moll came to admire. The present lot has not been seen on the open market since its creation in the 1930s. The work is included in the catalogue raisonne published in association with the Belvedere museum, its location listed as unknown with a black and white illustration until now. Recorded in the catalogue raisonné are four other works by Carl Moll all depicting olive groves during the early 1930s. The locations include Rapallo and Volterra in Italy and Provence in France including specifically Sanary-sur-Mer which may be the subject matter of the present lot. Extensive correspondence between Carl Moll and Oskar Reinhart is stored in the archives of the Kunst Museum Winterthur.   Condition Report: One pin hole to the upper left and lower left corner. Two pin holes visible to the lower right corner. There is an area of yellowing varnish to the sky which may benefit from a clean. Some very fine craquelure visible to the areas of the thickest impasto, this is hardly noticeable. Inspection under UV reveals a thick green varnish. Overall in good original condition. Condition Report Disclaimer

Maddie Yuille Study for a Bather II, 2023 Oil paint, ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maddie Yuille (b. 1988) is a visual artist based in London. She creates paintings that explore the embodied experience of being in natural spaces, working with varied media including oil paint, ink, and oil crayon on canvas. Her paintings hover between the figurative and abstract, depicting bodies that emerge from and meld with their environment as a means of critiquing the idea that "nature" is a realm distinct and separate from human lives. Yuille is inspired by a re-imagining of the stories of women historically accused of witchcraft, and paints utopian images where these women are instead free to take pleasure in their surroundings - swimming, resting, and tending to one another, or else content in their solitude. The exploration of materiality is crucial to her practice; each painting is an exploration in to how paint can visualise sensory experience. Education MA Fine Art City & Guilds of London Art School Select Exhibitions/Awards Selected Exhibitions: 2023 March The Songs of Hecate, group show at Pictorum Gallery, London 2022 Sep DELTA GAMMA, group show at Saatchi Gallery, London 2022 Sep Haven, group show with Steingold Contemporary, London 2022 Aug Wilderness Known, two person show at Liliya Gallery, London Selected Awards: 2021 Shortlisted for the Ingram Prize 2020 Shortlisted for the Ashurst Emerging Artist Award 2019 Shortlisted for the Contemporary British Painting Prize Statement about AOAP Submitted Artwork These works are made based on a figure from Marcantonio Raimondi's "Judgement of Paris" (after Raphael), c.1515, which I first saw at the Tate's Cezanne exhibition. I used this figure as a means of experimenting with media on paper - I wanted to create figures that emerge from their environment, using a mixture of ink, oil paint and pencil to create a sense of liveliness.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Maddie Yuille Study for a Bather I, 2023 Oil paint, ink and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Maddie Yuille (b. 1988) is a visual artist based in London. She creates paintings that explore the embodied experience of being in natural spaces, working with varied media including oil paint, ink, and oil crayon on canvas. Her paintings hover between the figurative and abstract, depicting bodies that emerge from and meld with their environment as a means of critiquing the idea that "nature" is a realm distinct and separate from human lives. Yuille is inspired by a re-imagining of the stories of women historically accused of witchcraft, and paints utopian images where these women are instead free to take pleasure in their surroundings - swimming, resting, and tending to one another, or else content in their solitude. The exploration of materiality is crucial to her practice; each painting is an exploration in to how paint can visualise sensory experience. Education MA Fine Art City & Guilds of London Art School Select Exhibitions/Awards Selected Exhibitions: 2023 March The Songs of Hecate, group show at Pictorum Gallery, London 2022 Sep DELTA GAMMA, group show at Saatchi Gallery, London 2022 Sep Haven, group show with Steingold Contemporary, London 2022 Aug Wilderness Known, two person show at Liliya Gallery, London Selected Awards: 2021 Shortlisted for the Ingram Prize 2020 Shortlisted for the Ashurst Emerging Artist Award 2019 Shortlisted for the Contemporary British Painting Prize Statement about AOAP Submitted Artwork These works are made based on a figure from Marcantonio Raimondi's "Judgement of Paris" (after Raphael), c.1515, which I first saw at the Tate's Cezanne exhibition. I used this figure as a means of experimenting with media on paper - I wanted to create figures that emerge from their environment, using a mixture of ink, oil paint and pencil to create a sense of liveliness.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

* JOSEPHINE GRAHAM (SCOTTISH b. 1930), MOROCCO oil on card, signedmounted, framed and under glassSaveimage size 20cm x 30cm, overall size 43cm x 61cmLabel verso: The Torrance Gallery, Edinburgh.Note: Josephine Graham painted in brilliant colour developing a style containing great use of tonal ranges, giving objects a simple 3D form. Her works are characterised by darker backgrounds, giving way to paler colours, greys and pinks. Her riotous use of bold colour is reminiscent of Matisse, Cezanne and the Scottish colourists.

SWISS SCHOOL (20TH CENTURY)LILIENBERG VILLA Oil on board Signed with monogram and dated 70 (lower right) indistinctly signed, titled and dated Lilienberg K. Gruber 70 (verso) 40 x 44cm (15½ x 17¼ in.)Lilienberg was the private residence of Oskar Reinhart. Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland or possibly Emma Nager By descent to The Hon. Mrs James Tennant Please Note: This lot was likely purchased by a family member of Oskar Reinhart and then passed down by descent Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Light rubbing to the extreme edges with some associated loss. Light surface dirt throughout. Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

λ ALFRED KOLB (SWISS 1978-1958)LANDSCAPE WITH TREES Oil on canvas board Signed and dated 30 (lower right) further inscribed (verso)41 x 50cm (16 x 19½ in.)Together with a watercolour of a mountain landscape, indistinctly signed and dated 38 (lower right) 24.5 x 24cm (2)Provenance: Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Exhibited:Possibly, Switzerland, Wintherthur, December 1942, titled 'Obstgarten,' purchased by Reinhart on 31st December 1942Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.  Condition Report: Some light rubbing to the extreme edges. Marks and scuffs to frame throughout.  Watercolour: Unexamined out of glazed frame. Slight undulation to the sheet. Some staining and moulding to the mount.  Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

CONTINENTAL SCHOOL (20TH CENTURY)STILL LIFE WITH BOOKS Oil on board 33 x 41cm (12 x 16 in.)Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Some rubbing to the extreme edges. Inspection under UV reveals no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

PAUL THÉOPHILE ROBERT (SWISS 1879 - 1953) STILL LIFE OF FLOWERS IN A WHITE VASE Oil on canvas Bears signature (lower right)60 x 50cm (23½ x 19½ in.)Provenance:Purchased direct from the artist Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Light surface dirt throughout. Rubbing to the extreme edges. Small loss to the upper left corner. Losses and marks to the frame throughout. Please note Dreweatts is not liable for damage to frames.  Condition Report Disclaimer