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AFTER PAUL CEZANNE La table toile de 1888-90, oil on canvas, 68 x74cm Daniel Delamare, Gallery, Paris, with certificate Condition Report: Available upon request

Josef PillhoferMaxim1958BronzeH. 97 cmBronzeabguss der Steinskulptur aus dem Jahr 1958Auflage: 6 Stück + 1 Künstlerguss mit Signatur PDieses Exemplar ist nicht signiert.österreichischer PrivatbesitzDie intensive Auseinandersetzung mit der menschlichen Figur ist Josef Pillhofers Plastiken aus übereinander angeordneten, kubischen Elementen eingeschrieben. Durch vor- und zurückspringende Formen, durch Flächen, Kanten und Ecken, definiert Pillhofer differenzierte Körperposen und Bewegungstendenzen, und er tut dies stets im Sinne einer Reduktion auf das Wesentliche.Pillhofers bildhauerischer Arbeit geht ein genaues Observieren und detailliertes Skizzieren des Naturvorbilds voraus. Dabei ist ihm ein zentrales Anliegen, die innere Gestalt, das Wesen des Darzustellenden, zu erfassen und wiederzugeben. Dem Betrachter wird eine intensive Rezeption der kubisch-tektonischen Strukturen abverlangt, um die Wesenheit begreifen zu können. Ein wiederholtes Umrunden der Figur ist erforderlich, sowie ein ausgeprägtes räumliches Vorstellungsvermögen.Die Referenz auf die Natur zeigt sich als Konstante im Werk Pillhofers – sowohl in den Arbeiten, in denen er ein kubistisches Formenvokabular anwendet, als auch in seinen realistischen Darstellungen. Beide Darstellungsmodi verortet Pillhofer als gleichwertig. Der unbekümmerte Wechsel zwischen den scheinbar konträren Polen Abstraktion und Realismus stellt einen signifikanten Wesenszug in Pillhofers Œuvre dar und verleiht ihm eine singuläre Position unter seinen Zeitgenossen.Geprägt wird Pillhofer einerseits von Fritz Wotruba, dessen Schüler er war, andererseits von den französischen Wegbereitern der Moderne Henri Laurens, Ossip Zadkine, Alberto Giacometti und Constantin Brancusi, mit denen er während eines längeren Aufenthalts in Paris Anfang der 1950er Jahre regen Austausch pflegt. Pillhofer studiert die Arbeiten der Avantgardisten Aristide Maillol, Paul Cezanne, Henri Matisse und Pablo Picasso, an dessen kubistisches Erbe er anknüpft.Die 1950er und 1960er Jahre stellen für Pillhofer eine bewegte und produktive Zeit dar: Zwei Jahre nach seiner Rückkehr aus Paris nimmt er 1954 einen Lehrauftrag an der Akademie der bildenden Künste an. 1955 wird er Mitglied der Wiener Secession. 1957 erhält Pillhofer ein dreimonatiges Rom-Stipendium. 1959 gründet er gemeinsam mit Heimo Kuchling die "Gruppe 59", zu der auch Oswald Oberhuber, Otto Muehl und Joannis Avramidis zählen. Pillhofer zeigt seine Arbeiten damals nicht nur in ganz Österreich – er ist international präsent, etwa bei Ausstellungen in der Schweiz, in den Niederlanden, in Belgien, in Frankreich, in Kanada, in den USA und in Italien bei der Biennale in Venedig. 1964 nimmt Pillhofer an den Weltausstellungen in New York und in Paris teil.(Isabell Kneidinger)

FIVE BOXES OF BOOKS ON THE SUBJECTS OF ART AND ARCHITECTURE, publishers include Tate Gallery - Max Ernst, late Picasso, Cezanne, George Stubbs, etc, Royal Academy - Picasso, Kandinsky, Mantegna, John Sloan, etc, other artists covered by other publishers include Man Ray, Lucien Freud, Renoir, Frank Lloyd Wright, Degas, David Hockney, Egon Schiele, etc

A collection of 20+ art books, artists mainly associated with Cubism, Modernism, Surrealism, plus other forerunners and associated movements such as Impressionism/Post Impressionism , Futurism, Metaphysical etc, including Pablo Picasso, Paul Cezanne, Paul Gauguin, Pierre Bonnard, Giorgio de Chirico, Amadeo Modigliani, Carlo Carra, Francisco Goya etc, titles include Walther: 'Pablo Picasso 1881-1973', 1995, 2 volumes, each original pictorial laminated boards, slipcase, McCully: 'Picasso in Paris 1900-1907', 2011, orig. paper covered boards, dust wrapper, plus one other Picasso; Monferini: 'Carlo Carra 1881-1966', Electa, 1992, orig. pictorial wraps; Gimferrer: 'Giorgio de Chirico', 1989, orig. cloth, dust wrapper; Amadeo Modigliani', Sirrocco, 2005, orig. pictorial boards, dust wrapper, plus one other Modigliani; Kostenevitch: 'Bonnard et les Nabis', Parkstone, 2005, orig. pictorial boards, dust wrapper, plus one other Pierre Bonnard; Kendall: 'Cezanne by himself', 1994, orig. pictorial wraps, 'Cezanne's Card Players', Courtauld Gallery, 2010, orig. pictorial wraps, plus two others Paul Cezanne, plus others Goya, Gauguin, Cubism, Surrealism etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years, who exhibited at The Serpentine Gallery, London, and in one-man shows in numerous galleries across the UK. Following his studies at the Glasgow School of Art from 1968-1972, he taught at Garrion Academy before moving to Norfolk in 1975, from then on painting tirelessly and producing an impressive body of work. To his delight, at the age of 83, he was shortlisted for the Artist of the Year award by Artists & Illustrators magazine, and he continued to paint every day until he was 86.

Two boxes of mixed books, good quantity including Picasso, Cezanne etc plus others Stirling Moss, Marilyn Monroe etc

Kujau, Konrad1938 - 2000, Maler und Kopist. "Paysage des environs d' Aix" nach Chezanne, unten links sign. "Kujau", Öl/Karton, verso von fremder Hand bez. "nach Cezanne", HxB: 50/40 cm. Alterssspuren, part. am Bildrand Farbabplatzer und min. Karton-Fehlstellen. Mit Rahmen.

WILLY EISENSCHITZ* (Vienna 1889 - 1974 Paris) Bei Dileufit Aquarell/Papier, 37 x 45,5 cmsigniert W. EisenschitzSCHÄTZPREIS/ESTIMATE °€ 1.500 - 3.500 WILLY EISENSCHITZ* (Vienna 1889 - 1974 Paris)at Dileufit watercolor/paper, 37 x 45,5 cmsigned W. EisenschitzSchlagwörter: Impressionismus, Cezanne, Salon d'autumne, Sezession, Secession, Walter Bondy, Sanery sur Mer, Hagenbund, Floch, Merkel, Kokoschka, Ecole de Paris, Schiele, Riviera, Picasso, Modigliani, Matisse, Kinsky, Dorotheum, Widder Auktionen, Griesebach, Lempertz, Van Ham, Bassenge, Ketterer

DOUGLAS FREDERICK PITTUCK (1911-1993), BARNARD CASTLE MILL, signed and dated '23 July '75' lower right, charcoal, framed, 33cm by 46cm; together with LUCY ERRINGTON (20TH CENTURY), BARNARD CASTLE AND RIVER LANDSCAPE, two watercolours, each signed lower right, framed. (3)Note: Pittuck was born in Plumstead, London and educated at Wallington Grammar School where he was taught art by Tom Nash, a friend of Stanley Spencer. Whilst employed at New College Oxford, he was allowed time to attend art classes at the Ruskin School of Drawing and Fine Art in the 1930s. After the war he returned to the Ruskin full time with the aid of an ex-serviceman`s grant and studied under luminaries such as Eric Ravilious. He began a 25 year career as an art teacher at Barnard Castle School in 1948. He remained an active artist and was one of the "Four Teeside Painters" formed in 1951. His ex-pupils remember him talking of his influences who included Cezanne.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PALMA, MAJORCA Signed, dated on a label verso 1933, oil on board(61cm x 51cm (24in x 20in))Footnote: Provenance: Sir William and Lady MacTaggart and thence by family descent Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AT NIGHT Signed, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NORWEGIAN FJORD Signed and dated '54, oil on board(24cm x 36cm (9.5in x 14in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AT GOSFORD, EAST Signed, inscribed on a label verso, oil on canvas(76cm x 63.5cm (30in x 25in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

TWENTY ILLUSTRATED ART BOOKScontaining prints of the artists Manet, Bosch, Picaso, Toulouse-Lautrec, Utrillo, Dufy, Degas, Titian, Bruegel, Cezanne, Goya, Van Gogh, Rembrandt, Gaugin and others (20)

Jewad Selim (Iraq, 1919-1961)Women Waiting oil on canvas, framedexecuted in 194343 x 30cm (16 15/16 x 11 13/16in).Footnotes:WOMEN WAITING: ONE OF JEWAD SELIM'S MOST SIGNIFICANT PAINTINGS'Artists were appalled at the conditions of poverty, illiteracy and subjugation of a lot of Iraqi women during this period in Iraq's history. They were concerned about the situation of illiterate women who were 'waiting' for marriage or who were forced to work as prostitutes. Jewad was very proud of his sister Neziha for having the courage to break out of the tradition of 'waiting' and leaving to study art in Paris. The painting will have been a statement of the plight of women at this time'- Miriam Selim, the artists daughterProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the abovePublished:Exhibition Catalogue: Jewad Selim, National Museum of Modern Art, January 1968, Ministry of CultureExhibited:Jewad Selim, House of Nizar Ali Jawdat in 1950, Baghdad, Iraq, 1950, No.9 (the artists first solo exhibition)Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Bonhams are most privileged to present perhaps one of the rarest and most sought after works of Iraqi art to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted Woman Waiting in 1943, the work was not only exhibited at Jewad's first ever solo exhibition in the house of Ali Jawdat Ayoubi, but also featured in his major 1968 retrospective at the Baghdad National Museum.Executed in Jewad's key transitional period; during a five year stay in Baghdad after returning from Rome and before enrolling at the Slade, the work is a powerful and unique commentary on the plight of Iraqi women, and perhaps one of the first overtly feminist artworks painted in the Middle EastIn this painting Jewad depicts the prostitutes that loitered in the back alleys of Baghdad, entreating business for passers by. Far from being a merely literal appreciation of its subject matter, Jewad's depiction of the women is a wider commentary on the plight of a generation of Iraqi women whose fate and destiny were tied to the men for whom they were 'waiting'; this including not only Women Waiting for male custom, but for girls waiting to be betrothed whose transition to adulthood depended on the presence of a male provider.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Women Waiting' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The affects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department. During this wartime period in Baghdad, Jewad and a group of Iraqi artists became acquainted with several Polish officers who were painters, two of whom had studied with Pierre Bonnard. The Polish artists introduced the young Iraqis to the latest European styles and concepts, leading Jewad to comment in his diary that after discussion with the Poles, he understood the importance of colour and its application; and only then was he able to fully understand the works of European artists such as Rembrandt, Goya and Cezanne.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimFor further information on this lot please visit Bonhams.com

Emma Haggas (b.1963) Chrissie's Flowers Signed with initials ECH (lower left) Oil on board 48cm x 43cm Framed (54cm x 48.5cm including frame) Horatio's Garden will receive 100% of the hammer price on this lot. During the last few years Emma has really started to enjoy 'paint', the experience of colours, making a harmonised palette and learning how to place them in a free and exciting way. Studying artists such as Ivon Hitchens, Cezanne and Keith Vaughan has helped this. Rather than painting the landscape as it is, using the paint is a way of expressing a personal response to it. Her oil-based paintings are inspired by the beautiful surroundings of her Wiltshire home and the stunning seascapes of the North Cornish coast. After leaving North London Collegiate School for Girls in 1982, Emma studied Fine Art, History of Art and Education at Homerton College, Cambridge qualifying with a B.Ed Degree in 1986. She then taught A Level Art and Design at Kingston Grammar School for 4 years. She stopped teaching to concentrate on her own work and had her first solo exhibition at the Ozten Zeki Gallery, Walton Street, Chelsea in 1992 and a second exhibition in 1993 at the Marryat Gallery, Richmond, Surrey. Since 2014 she has shown regularly with: · Josie Eastwood Fine Art in Hampshire, · Cricket Fine Art in London, · McAllister Thomas Fine Art in Godalming, Surrey · Claremont Gallery in Sevenoaks, · Rosvik Goup in Hampshire, · Quiddity Fine Art in Hampshire, · Affordable Art Fair in London, and more recently been introduced to: · Jerram Gallery in Sherborne, Dorset; and · British Art Portfolio, all over the UK

Winifred Nicholson (1893-1981) Castagnola, circa 1923 oil on board Verso: Kate Nicholson (1929-2019), Cumberland Landscape, circa 1950 oil on board 59 x 74 cm. Literature: Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920-1931, Philip Wilson Publishers, London, 2013, p. 15 (illustrated in colour). Winifred Nicholson and Ben Nicholson spent the first three winters of their married life in the Italian speaking part of Switzerland, near Lugano. Here, away from the London art world, and inspired by visits to Paris on their journeys to and from England where they admired works by Picasso, Rousseau, Derain, Modigliani, Van Gogh, Gaugin, Cezanne and Matisse, their experiments were 'fast and furious', as described by Ben Nicholson. They worked closely together and the depth of their creative partnership is vividly demonstrated by comparing Castagnola with Ben Nicholson's 1923 (Castagnola) (National Galleries of Scotland). For further information of their time in Lugano see The Allure of the South: the Nicholsons in Italy and Switzerland, 1920-23, Sebastiano Barassi, op. cit. pp. 8-17. Cumberland Landscape is characteristic of the early poetical landscapes by Kate Nicholson, Winifred's daughter. Although Winifred Nicholson often painted on the reverse of pictures due to a shortage of materials it is rare for her to have shared a support with her daughter, although not unknown (see for example Skye (Kettle's Yard, Cambridge) which has a portrait by Winifred on the reverse). For more Cumberland landscapes by Kate Nicholson see Kate Nicholson, Jovan Nicholson, Philip Wilson Publishers, London, 2019. We are grateful to Jovan Nicholson for his assistance in cataloguing this lot. 

A Framed Paul Cezanne Print, Still Life with Apples, 52x38cm

•Denis Peploe R.S.A. (Scottish, 1914-93), After Cezanne, Hillside in Provence, oil on canvas, framed. 62cm by 74.5cm. Note: Peploe's copy is of a painting held in the collection of the National Gallery in London, (acquired through the Courtauld Fund in 1926) and is of near identical size to the original. Provenance: the Peploe Family Collection. ARR may apply

Beckmann, Max. Photopostkarte mit eigenhändigem Neujahrsgruß und Unterschrift an Baron Freiherr Rudolf von Simolin. St. Moritz, 28.XII.28 (Poststempel). Gelaufen. 8,5 x 13,8 cm.Auf der Vorderseite der Postkarte sind Max Beckmann und seine Frau Mathilde (geb. von Kaulbach), die er liebevoll "Quappi" nannte, in voller Skimontour zu sehen. - Beckmannn und Rudolf Baron von Simolin-Bathory (1885-1945), ein entfernter Verwandter von Mathilde, hatten sich im Laufe des Jahres 1928 näher kennengelernt und angefreundet. Der Sammler bedeutender Werke von Cezanne, Munch und Delacroix sollte einer der großen Förderer Beckmanns werden und besaß etwa 15 Gemälde von ihm. 1931 saß er Beckmann für ein großformatiges Porträt (Göpel 348) Modell. Wie sehr Max Beckmann Simolin schätzte und sich von ihm verstanden fühlte, bezeugt ein Brief vom 12. November 1929: "Sie wissen doch, dass Sie so ziemlich der einzige Mensch in diesem kleinen Erdenteater sind mit dem ich manchmal so sprechen kann, wie ich wirklich denke" (Barbara und Erhard Göpel, 1976). - Über Beckmanns Anrede "M. l. Simolin" findet sich noch ein "herzlicher Gruß" von "Hilde". - Poststempel etwas verwischt, sonst sehr gut.

Edward Atkinson Hornel (1864-1933)Skipping signed and dated 'E A Hornel/96' (lower right)oil on canvas61 x 40.7 cm. (24 x 16 in.)Footnotes:ProvenanceJ.B. Bennett & Sons, GlasgowPrivate collection, UKThis painting is an important discovery and illustrates the four key influences on Hornel's work from this period; George Henry (1858-1943), Les XX, the art of Japan and photography.Hornel and Henry moved away from the Glasgow Boys' realism of the 1880's to a more decorative form of painting. Often working side by side, or together in projects such as their 1890 The Druids Bringing in the Mistletoe (Glasgow Museums), they developed a new colourful and distinctive style. Their ten-year long association produced a series of pictures that are regarded as the essence of the Glasgow School. In this picture, dating to 1896, Hornel uses a high key of colour, with punchy reds, greens and oranges predominating. This creates a strong sense of pattern. The figures of the children, their limbs caught in motion, both break up the landscape and become part of it, pinafores and hair adding their own colour to the scene.This painting also has a distinctive Pont Aven air to it. In 1893, Hornel exhibited with Les XX, a progressive Belgium art group, which he had been aware of since his time studying in Antwerp. Each year Les XX invited a few international artists to exhibit with them, such as Pissarro, Monet, Seurat, Gaugin, Cezanne, and van Gogh. Hornel's training in Belgium, under Charles Verlat, was part of a wider movement in European art, where several artists were changing the way they painted in direct response to their exposure to Japanese art. The Glasgow art dealer Alexander Reid recognised how Hornel had embraced the most dynamic, Japanese-inspired aspects of Post-Impressionism and became his supporter and dealer. Reid, along with the wealthy shipping merchant William Burrell, agreed to fund Hornel and Henry's trip to Japan. In 1893–94 the two artists spent a year and a half expedition in the country, where they learned much about decorative design and spacing. This picture was painted just a few years after his return. Typically for Hornel, it demonstrates a tightly restricted view, very close to the picture plane. It has a steep and flattened perspective, often seen in Japanese prints. It is a painting full of energy, colour and twisting movement, giving a real sense of the gaiety and exuberance of youth. It is similar in subject matter to that of his early works from 1981, Dance of Spring (Glasgow Museums) and Summer (National Museums Liverpool), but here Hornel uses his latest techniques in composition, perfected during his time in Japan. Kite Flying of 1894 (National Galleries of Scotland) uses a similar S shape placement of figures on the canvas. Where Hornel uses the string of the kite to break up the canvas in the Japanese scene, the skipping rope creates the same affect in this Galloway example.The impact of photography on Hornel's work is also evident here. The focus of the camera lens was the most modern way of viewing a subject at that time. Imitating the eye of the camera, Hornel focusses on the girls' faces, whilst the surrounding areas appear slightly out of focus. It encapsulates Hornel's approach to painting from the late 1890's onwards. Photographic sharpness dissolves into the blurriness of his thick impasto backgrounds, sometimes verging on abstraction.Skipping represents Hornel at his best. It is joyful, daring and, above all, modern. These stylish and sophisticated works of the late 1890's are very rare and important. After 1900 Hornel seemed to give up on experimentation and settled into a more formulaic style of painting landscapes of pastel tones with figures, one that brought him widespread popularity and commercial success.This painting has hung on the same walls of a private home for the past 50 years, and was owned by the previous generation of the same family for a similarly long period of time.For further information on this lot please visit Bonhams.com

Samuel John Peploe RSA (British, 1871-1935)Still Life with Tureen and Fruit signed 'Peploe' (lower left)oil on canvas46 x 55 cm. (18 1/8 x 21 5/8 in.)painted circa 1926Footnotes:ProvenanceWith Ian MacNicol, Glasgow, where purchased in 1970.Favourite studio props, such as crockery and drapery, were often used by Peploe in various permutations alongside fruit or flowers, as the artist famously sought to paint 'the perfect still life'. This tureen can be seen in several other of his works, but in this example, it takes more of a central role. His compositions were meticulously planned and executed, exploring the balance between naturalism and design for which the Colourists were renowned. The reds and greens of the apples and pears shine out with jewel-like quality, amongst the low tones used on most of the canvas. Reflections in the tureen and table-top are carefully realised, whilst forms are outlined in black and volume is emphasised by shadow. All of which demonstrate how Peploe used compositions to create a dialogue between object and space, colour and tone. All an homage to Paul Cezanne but in Peploe's own distinctive style.For further information on this lot please visit Bonhams.com

PAUL CEZANNE, sepia etching "Paysage a Auvers", 5" x 4"

A group of 8 impressionist related art reference books to include impressionist portraits by Melissa McQuillan, The treasure of the impressionists by Jon Kear, Watercolours and drawers of the French impressionist by Horst Keller. Also, Cezanne ( Published By The Tate ) Cezanne, the self portraits by Steven Platsman

Duncan Grant (1885-1978) St. Ives - Huntingdon lithographic poster, 1932, condition A; not backed, framed (Dimensions: 76cm x 114cm (30in x 45in))(76cm x 114cm (30in x 45in))Footnote: Literature: Hewitt, The Shell Poster Book, 50.Duncan Grant studied at Westminster School of Art and at the Slade. He was one of the first English artists to be influenced by Fauvism, particularly by Cezanne, and he exhibited at the second Post-Impressionist exhibition in 1912. He joined Roger Fry in 1913 as director of the Omega Workshops. He was part of the Bloomsbury Group and lived with the painter Vanessa Bell with whom he collaborated on projects, including designs for textiles, pottery, stage sets and costumes and a series of designs for the Queen Mary in 1935 which Cunard rejected. In his typical style, Grant here portrays the 15th Century bridge in the picturesque market town of St.Ives, in Cambridgeshire, 12 miles north-west of Cambridge.

Howard Carter, After Cezanne, a Still Life sculpture, 1998, carved jelutong with limewood, on MDF base, width 60cm.Footnote: Provenance: Howard Carter was born in Romford, Essex, in1938 but settled in Woodhouse Eaves, Leicestershire. He taught at Loughborough College of Art and Design from 1963, and exhibited as a wood sculptor in Leicester, Birmingham, and Manchester. In this piece, he attempts to turn one of Cezanne's still life artworks into a 3D sculpture.

ROBERT DELAUNAY (FRENCH 1885-1941) Study for Tour Eiffel, circa 1910-1911 ink and pastel on tracing paper full sheet measuring 27 x 20 cm (10 5/8 x 7 7/8 in.) signed lower right PROVENANCEEstate of Sonia DelaunayPrivate collection, FranceWith Galerie Cazeau-Beraudiere, ParisWith Nathan A. Bernstein & Co. LTD., New YorkAcquired at the above by the present owner LOT NOTES Robert Delaunay was born in Paris in 1885, at an early age Delaunay studied Decorative Arts in the Belleville District of Paris, at the age of nineteen, his focus shifted to painting, later he would contribute six works to the Salon des Independants in 1904. Later in 1906 after traveling to Brittany where he was influenced by the artistic group of Pont-Aven, he submitted works to the 22nd Salon des Independants, here is where he met Henri Rousseau. Delaunay formed a close relationship to Jean Metzinger famed 20th century French painter [theorist, writer, critic and poet] who experimented with different faceting of forms, which would later be known as Cubism. Delaunay and Metzinger shared a exhibition at a gallery run by Berthe Weill in 1907, during this time both artists were singled out by art critic Louis Vauxcelles calling them "Divisionists" who used larged, mosaic-like 'cubes' to construct small but highly detailed compositions. Metzinger and Delaunay worked closely together, often painting together from 1906-1907, during this time they would develope a new sub-style known of Neo-Impressionism. At the height of Delaunay's career he painted a number of series, Saint-Sevrin series (1909-1910), City series (1909-1910), Eiffel Tower series (1909-1912), City of Paris series (1911-1912), Window series (1912-1914), Cardiff series (1913), Circular Forms series (1913), and lastly The First Disk series (1913). Delaunay's Eiffel Tower series represented solid objects becoming fragmented merging with the space. In Delaunday's Eiffel Tower series, influnced by Cezanne, Analytical Cubism and Futurism, the tangiable object and the surround space are accompanied by an intense movement of geometrical planes. Delaunay was successful in Germany, Switzerland and Russia, participating in the first Blanc Reiter exhibition in Munich selling four works. In 1912 Delaunay had his first major exhibition in Paris, showing forty-six works from his early Impressionist works to his Cubist Eiffel tower. From 1914-1920 Robert and wife Sonia retreated to Spain, settling in Madrid, after 1921 Delaunay returned to Paris, in October of 1941 Delaunday died at the age of 56 from cancer. Delaunay's work can be viewed at The Musee National d'Art Moderne in Paris, the Neue Nationalgalerie in Berlin, the Bilbao Fine Arts Museum in Spain, Kunstmuseum Basel in Switzerland, Palais des Beaux-Arts de Lille in France, the Guggenhiem Museum, New York City, the Museum of Modern Art, New York City and many more. CONDITION The work appears in good stable condition. Minor discoloration and scuffs to the perimeter of the brown paper. Endemic creases to the tracing paper. A crease to the upper left corner, small tear to the left lower edge of the tracing paper. The tracing paper is hinged in two places at the top. The brown paper is hinged in two places at the top. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

After Paul Cezanne (20th/21st century) - French landscape with trees in the foreground, coloured reproduction, 21.5" x 17.5"; together with two further coloured prints entitled 'Daybreak' and 'Dawn' and a Balinese work depicting a Buddha riding upon a horse drawn chariot and a coloured print taken from a painting depicting Hong Kong harbour possibly from the Cantonese School, the original being from the 18th or 19th century, various sizes (5) **The French landscape is contained within a good quality gilt plaster and wooden frame with a decape finish

FOLIO SOCIETY; A collection of nine books comprising; GOETHE (J) FAUST; CEZANNE BY HIMSELF; THE QUEEN OF HEAVEN; DEGAS BY HIMSELF; VINCENT BY HIMSELF; DANIELL (T, S &W), AN ILLUSTRATED JOURNEY AROUND THE WORLD; DANIELL (W), A VOYAGE ROUND THE COAST OF GREAT BRITAIN; MILTON (J), PARADISE LOST, illustrated by John Wain; HIBBERT (C). CITIES AND CIVILISATIONS (9).Additional InformationFootnote: This lot forms part of The Library of a Cheshire Gentleman collection, see lot 2317for more details.

*PIERRE JOURDA (French, 1931-2007)Eyes on Isaac Newton1960s collage on canvas, numbered 521 on reverse54 x 33.5cm, framedProvenance: From the Pierre Jourda workshop.Pierre Jourda was born in 1931 in Montesquieu-Volvestre in the Haute-Garonne. The son of a mason, he was a gifted student who, at age 15, was accepted to the École des Beaux-Arts in Toulouse, later studying at the Sorbonne where he was influenced by the likes of Van Gogh, Cezanne, and in particular, Fernand Leger. He devoted his life to teaching art and taught at several locations. His collages began in the late 1950s, but after becoming influenced by the events of May 1968, he only really began producing art again in the early 1980s.*Artist's Resale Right may apply to this lot.Condition report: No damage detected

Pissarro (Ludovic Rodo & Lionello Venturi). Camille Pissarro, son art- son oeuvre, Catalogue Raisonné, 2 volumes, 1st edition, San Francisco: Alan Wofsy Fine Arts, 1989, numerous black & white illustrations, uniform original cloth in dust jackets, volume 2 spine lightly rubbed to foot, large 8vo, together with; Duret (Théodore), Histoire de Édouard Manet et de son oeuvre, Paris: Librairie Charpentier et Fasquelle, 1906, 12 black & white illustrations, some toning throughout, contemporary quarter morocco to marbled boards, boards & spine slightly rubbed, 8vo, and Krumrine (Mary Louise), Paul Cézanne, The Bathers, 1st edition, New York: Museum of Fine Arts, 1989, original cloth in dust jacket, large 4to, plus others on French Impressionism and Post-Impressionism, including Gaugin, Henri Fantin-Latour, Cezanne, Rodin, Toulouse Lautrec, some original cloth in dust jackets, some paperback editions, 8vo/4toQty: (54)

Print-Paul Cezanne (1839-1906)-Paris-Mussee de l'orangeni-gold rim wood frame 14 x 16 approx.

λ Ivon Hitchens (British 1893-1979)Wittenham Clumps from Day's LockOil on canvasSigned (lower left); further signed, titled and dated 1956 (on artist's label to stretcher)41 x 87cm (16 x 34¼ in.)Provenance:Acquired directly from the artist in 1957Thence by descent to present ownerSynonymous for his panoramic depictions of the English countryside, Ivon Hitchens learnt his trade at the Royal Academy Schools before setting up a studio in north London in 1919. The subsequent two decades saw the evolution of Hitchens' style from an accomplished but essentially traditional representational approach to a much more personal and emotive pictorial language. The influence of contemporary French painters such as Paul Cezanne, Georges Braque and Andre Lhote, as well as friendships with confirmed modernists like Claude Flight exposed Hitchens to new and exciting ways of seeing. An invitation to stay with Ben and Winifred Nicholson at their house in Cumberland in 1925 led to a productive exchange of ideas at a time when all three were at a critical juncture in their artistic development. The paintings that Hitchens completed during this time have often been seen as the first in which his personal style begins to manifest itself. These years were, however, a financial struggle for Hitchens who, lacking any significant patronage, had to be content with only selling a handful of works each year. The one constant was his membership of the Seven and Five Society. With its first exhibition in 1920, the group was initially made up of a haphazard variety of artists, but Hitchens' suggestion that Ben Nicholson join the group in 1925, galvanised it into a more single-minded movement with a nascent modernist aesthetic. Over the coming years the group attracted many of the most innovative artists of the period including Christopher Wood, David Jones, Frances Hodgkins and Barbara Hepworth; and Hitchens' circle in north London grew to include further likeminded artists and intellectuals such as Henry Moore, Paul Nash, Adrian Stokes, David Bomberg, Walter Gropius and Herbert Read.In 1940, the Hitchens family which now consisted of his wife Mollie whom he had married in 1935 and their young son, John, born in April of the same year, were forced to retreat from London after his Hampstead studio and home was bombed. The couple had been spending increasing time in Sussex and the previous year had acquired an area of woodland near Lavington Common, along with a large caravan purchased from a Miss Williams of Heyshott for £20. This move to Sussex transformed Hitchens' painting and he spent the next forty years depicting the surrounding landscape.By the time of the present work, Wittenham Clumps from Day's Lock, executed in 1956, Hitchens had established himself as one of the foremost painters of the day, with financial security from a now longstanding relationship with Leicester Galleries and critical acclaim from several museum exhibitions. In the same year, he was chosen to represent Britain at the XXVII Venice Biennale. Whilst his work had been exhibited abroad, the Biennale offered an unrivalled opportunity for twenty canvasses to be shown, showcasing his work to a much wider international audience. The works were well received and, following the show, the British Council was invited by several European galleries, to send them on tour, garnering yet more exposure for Hitchens' work. Wittenham Clumps from Day's Lock is a superb example of Hitchens' use of colour to create form. The typical sage green interspersed with greys, whites and violets draw the viewer over the water to the landscape beyond. The intersecting lines of the foreground contrasting with the curve of the hills in the distance creating a sense of balance and harmony. The work was acquired in 1957 as a wedding present directly from Hitchens' studio and has remained in the same family ever since. The family have retained not only the original correspondence with Ivon Hitchens setting up the studio visit and subsequent purchase of the work but also a brilliant recollection of the visit by the original owner. These documents reveal him to be a solicitous and kindly man who was more than happy to devote the whole day to showing paintings to his prospectus buyers and discussing them at length. Although the letters deal mainly with the practicalities - including a hand drawn map of how to find the studio - they also reveal humour and sensitivity. Hitchens first letter, dated January 25th 1957, worries "Hadn't you better count your pennies after your honeymoon?".The timing of the visit coincided with the opening of Hitchens' exhibition at the Musée National d'Art Moderne in Paris and he remarks:"...it's odd how you can travel thousands of miles, do and see so much and find time for it all - while if one stays at home, things crowd in so thick and there is so much to attend to that I am usually behind with the delivery of paintings. Our Paris trip which did materialise in the end, leaves a hazy memory of floods of taxis (petrol rationing a myth), crowds of people, champagne adlib(?) and miles of stone floor galleries. The show looks well and everyone seemed pleased including the museum authorities who talk of buying one."The owner's memoir reveals more about the visit and includes a great many insights into Hitchens' working process."He seemed in no hurry, and curiously objective about his own work as though he were an outsider seeing it for the first time. Many canvasses were unfinished. He explained that he always knew what he was going to try to achieve but never how he was going to get there. He always started from nature (or from an interior or model). The first rendering was often relatively representational, the verticals and horizontals, light and shade, re-producing what was in front of him - up to a point.Each succeeding state - and he sometimes did 6 or more - would be more abstract, until the final one might, if he were 'lucky' express something of what the original meant to him, though, to the viewer, it might seem to be totally 'abstract' unless he knew how it had evolved."It was only after some considerable time that they came close to making a decision on a painting and, remarkably, the day ended with them agreeing on not just one painting but two:"We spent the whole afternoon, looking at and discussing painting after painting. Eventually the choice was narrowed to two; one I liked, one Hitchens liked and wanted us to have. The one I liked was not, Hitchens said, finished - or satisfactory. The one Hitchens preferred had just been completed - 'Wood Landscape no. 2', of 1956. He looked again at the one I preferred - 'Day's Lock, Wittenham Clumps' - and agreed there was something missing on the right-hand side. Picking up a large brush dripping with a characteristic mixture of grey, light blue and purple, he swirled in a sort of arching rainbow against the deep blue of the sky on the right. "There", he exclaimed, "That does it, I think". I wanted the picture more than ever, but he still wanted us to have the other. We explained that we were broke and could not possibly afford both. After long discussion, "I'll tell you what", he said, "why don't you take both - for the price of one". And, despite our protests, that is what eventually happened." 

Georges Merkel (Galician, 1881-1976)Allegorical Self-portrait signed 'Merkel' (lower right)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted c. 1930Footnotes:LiteratureJewish Artists of the school of Paris 1905-1939, Somogy éditions d'Art, Paris, 2015, p. 241.Georges Merkel was born in a modest family in Lemberg, nowadays the city Lwiw in the Western Ukraine. He earned his living by decorating apartments and began his training at the School of Decorative Arts in Lodz.In 1903, thanks to a friend's financial support, he enrolled at the School of Fine Arts in Krakow and was awarded the silver medal two years later. Between 1905 - 1908 and 1909 - 1914, he lived in Paris and devoted himself to the French Classicism and the art of Paul Cezanne. During the First World War, Merkel was enlisted in the Austrian army and was seriously wounded. In 1917 he underwent a brain surgery to avoid the risk of blindness. During the interwar period, Merkel recited in Vienna and was a member of the artist's association Hagenbund. In 1938, his art was defamed as 'degenerated' by the Nazi Regime forcing his emigration to France where he took refuge in Montauban. After the Liberation, he went back to Paris and settled in Le Plessis - Robinson. Since 1945, Merkel was a member of the Viennese Secession and in 1961 he was honoured with the City of Vienna Prize. In 1972, he returned to Vienna where he spent the last years of his life.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

SIX BOXES OF BOOKS AND MAGAZINES, including art and antiques interest, The English Domestic Clock, Paul Cezanne by Fritz Novotny, second edition, Who's Who 1959 and 1962, Jane's Fighting Ships 1982-83, Punch or The London Charivari Vol III, magazines are antique reference (six boxes)

Monticelli, Adolphe. 1824-1886 Marseille Interieur: Mutter und Kind an Feuerstelle. Öl auf Pappe, re. u. sign. 23,5 x 30 cm. Gerahmt. Schüler von Paul Delaroche, Vorläufer des Impressionismus in Frankreich, Schule von Barbizon (Narcisso Virgilio Díaz de la Peña). 1878-1884 Malerfreundschaft zu Paul Cezanne. Adolphe Monticelli (1824-1886 Marseille): Interiour scene with mother and child. Oil/ cardboard, signed lower right. 23,5 x 30 cm. Frame.

A framed and glazed watercolour 'Paul Cezanne in the garden of his friend Camille Pissari'

A large collection of Art Books with themes of Well Known Artist to include: Van Gogh, Cezanne, Dresden, Klimt, Degas, Raphael, 32 copies

A collection of 35+ art books including Picasso, Matisse, Bomberg, Keith Vaughan, Ivon Hitchens, Cezanne, Rousseau etc etc

ART. Complete books of Cezanne, Klimt, Mucha (2), Renoir, Pre Raphaelite, Deco & Nouveau postcards plus loose other artists. Approx 400+. Very attractive cards

Barbara McGivern (Canadian, 1945-2019) Ginger Jar with Fruit (Cezanne) signed and inscribed verso, acrylic on canvas 107 x 107cm

BOX OF MIXED BOOKS, SOME ON ART INCLUDING VAN DYCK AND CEZANNE

Henry Matisse, monochrome print, Artist and model, overall 29 x 36cm, a pair of prints after Picasso and a Cezanne reprint, Guillaumin au Pendu

Paul Cezanne (French, 1839 - 1906) "Guillaumin au Pendu" Etching. Composed 1873. Printed later from the original plate. The original edition was c.1,000. Cream wove paper. Full margins (deckle edges). Very good impression. Fine condition. Literature/catalogue raisonne: Cherpin 2. Comment(s): Cezanne made only nine prints during his lifetime, five etchings and four lithographs. All of the etchings date from July 1873 when he was experimenting with etching techniques with his friend, the painter Armand Guillaumin, who is portrayed in the etching offered here. Guillaumin is sitting under the sign of the inn "Le Pendu" (The Hanged Man). [3460-2-300] Image Size: 6 x 4.75 in. Overall Framed Size: 10.25 x 8.25 in.

A LIMITED EDITION COLOUR PRINT AFTER ROLF HARRIS ‘MONT SAINTE VICTOIRE (HOMAGE TO CEZANNE)’ SIGNED AND NO 62/695 39 X 48.5CM UNFRAMED

A BOXED CHARLOTTE DO VITA LIMITED EDITION MINIATURE TEAPOT, Apples, Peaches, Pears after P Cezanne, CS90, together with various Wedgwood blue jasperware trinkets and vases (13), a quantity commemorative coins and sterling silver collared fish eaters

* ROLF HARRIS, MONT SAINTE VICTOIRE (HOMAGE TO CEZANNE) giclee print on paper, signed, 211/695 34cm x 45cm Mounted, framed and under glass Note: This lot includes a certificate of authenticity

SWAN, DOUGLAS SWAN, DOUGLAS 1930 Great Britain/Connecticut - 2000 Bonn Titel: "Variation on the card players, from Paul Cezanne". Datierung: 1988. Technik: Öl auf Leinwand. Maße: 201 x 250cm. Bezeichnung: Signiert und datiert unten rechts: D. Swan 1988. Verso oben rechts betitelt, signiert und datiert. Rahmen/Sockel: Atelierleiste. Die Arbeit ist im Werkverzeichnis der Douglas Swan Stiftung, Bonn, verzeichnet. Wir danken Herrn Thomas Gruber für die freundliche, wissenschaftliche Unterstützung. Erläuterungen zum Katalog Douglas Swan USA Abstraktion Nachkriegskunst Unikate 1980er Spiel Gemälde Öl SWAN, DOUGLAS SWAN, DOUGLAS 1935 Great Britain/Connecticut - 2000 Bonn Title: "Variation on the card players, from Paul Cezanne". Date: 1988. Technique: Oil on canvas. Measurement: 201 x 250cm. Notation: Signed and dated lower right: D. Swan 1988. Verso upper right titled, signed and dated. Frame/Pedestal: Studio bar. This work is registered in the catalogue raisonné of the Douglas Swan Foundation, Bonn. We thank Thomas Gruber for the kind, scientific support. Explanations to the Catalogue Douglas Swan USA Abstraction Post-War Art Post War 1980s Game Painting Oil

Paul Cezanne 1839-1906. French (Follower of). Oil on canvas. “Still Life of Apples and Lemon”. Measures 31cm x 46cmCondition Report – Very good original condition.

CEZANNE PAUL: (1839-1906) French Artist & Post-Impressionist Painter. A good and rare A.L.S., Paul Cezanne, two pages, 8vo, n.p., Wednesday April 1881, to Monsieur Huijsmans, in French. Cezanne states in full, 'I received before yesterday in the evening the volume you kindly sent to me. I deeply thank you for your kindness. Together with your parcel was attached the one of monsieur Ceard. In the ignorance that I find myself of his address because of my negligence, I would ask you to send to him my gratitude for the testimony of his esteem towards me for the matters related to the mind..´ The paper bears an Original Oxford Mill watermark. Accompanied by the original envelope in Cezanne´s hand. Overall age wear and foxing stains, otherwise GJoris-Karl Huysmans (1848-1907) French Novelist and art Critic. A founding member of the Academy Goncourt and an early advocate of Impressionism.

Max Unold. 1885 Memmingen - 1964 München. Studierte in München. Bereiste ab 1911 Südfrankreich, wo er Cezanne kennenlernte. Einer der bedeutendsten Vertreter der Neuen Sachlichkeit. Sign. Stilleben mit Äpfeln und Birnen. Rs. Klebeetikett Große Kunstausstellung München 1960, Katalognr. 826. Öl/Ktn. 60 x 40 cm. R

Max Unold. 1885 Memmingen - 1964 München. Studierte in München. Bereiste ab 1911 Südfrankreich, wo er Cezanne kennenlernte. Einer der bedeutendsten Vertreter der Neuen Sachlichkeit. Stilleben mit Zwiebeln, Kartoffeln und Zitrone. Öl/Ktn. 60 x 40 cm. R

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Landscape, 1971 signed ' GHIKA/ 71' (lower right)oil on canvas laid on board38.5 X 46 cm. Footnotes: Provenance Mr Peter Naylor, UK (acquired in 1971) and thence by descent to the present owners, UK. ExhibitedZoumboulakies Galleries, Athens, no 43, 1971. (possibly) A new addition to the artist's oeuvre recently discovered by Bonhams, Landscape, 1971 showcases Ghika's mastery in creating his own rich visual and stylistic vocabulary; a harmoniously balanced universe influenced by Cezanne and the Cubists (note the fractured planes and the spatial awareness in depicting multiple angles simultaneously) but ultimately connected to the unique light and landscape of his native land. Landscape, 1971 was acquired by Mr Peter Naylor, the British Council Representative in Athens during the early 1970s and mid-1980s, from a gallery exhibition in 1971, the year of the artwork's execution. It has been kept in the family ever since. During our research through the Ghika Gallery Archive/ Benaki Museum, we came across a work by Ghika under the title Lake in the mountain, 1971 of same dimensions but lacked any photo evidence that would allow us to securely identify it.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

Die Bucht von Marseille"" nach Cézannemediterrane Sommerlandschaft am Meer, Kopie nach dem um 1890 entstandenen Gemälde von Paul Cézanne des Musee d´Orsay Paris, pastose Malerei mit breitem Pinselduktus in kraftvoller Farbigkeit, Öl auf Leinwand, um 2000, unsigniert, rückseitig auf der Leinwand bezeichnet "F. 7." sowie auf dem Spannrahmen Annotation "Nach Cezanne, Die Bucht von Marseille", etwas reinigungsbedürftig, ungerahmt, Maße ca. 60 x 80 cm.

[ART REFERENCE & EXHIBITION CATALOGUES]. A group of 4 reference works and exhibition catalogues about French artists, comprising:  BERNARD, Emile. Lettres de Vincent Van Gogh A Emile Bernard. Paris: Ambroise Vollard, 1911. Original wrappers bound in. -- RIVIERE, Georges. Le Maitre Paul Cezanne. Paris: H. Floury, Editeur, 1923. Original wrappers bound in. -- MUSEE DE L 'ORANGERIE. Claude Monet. Exposition Retrospective, 1931; Portraits et Figures de Femmes Pastels et Dessins, 1935; Cezanne, 1936, second edition; Degas, 1937; Exposition E. Vuillard, 1938; all published Paris: Musee National de l 'Orangerie, 1931-1938. 5 exhibition catalogues bound in 2 volumes. Original wrappers bound in. Provenance: R.M.L. (signature); Edwin E. Hokin (signature); Grace and Edwin Hokin (bookplate). -- SEUPHOR, Michel. L'Art Abstrait. Ses origines, ses premiers maitres. Paris: Maeght, 1950. Later edition. -- Together, 8 works in 5 volumes, 8vo,   FIRST EDITIONS except where noted, all half morocco, condition generally fine.For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

After Paul Cezanne, mixed media, still life of fruit in a dish on a table top (written provenance verso), 6.75ins x 9.75ins, gilt framed

* Zdzislaw Ruszkowski [1907-1990]-Climbing The Stairs; Mrs Ash and Katherine,:-signed bottom rightoil on canvas, 108 x 84cm.* Notes Exhibited. Leeds City Art Gallery and Temple Newsam House.* Biography Ruszkowski was born in 1907 in Tomaszow, Poland and grew-up influenced by his father, also a painter. Later influences were Van Gogh, Cezanne and the Old Masters such as Titian and Rembrandt. In 1935 Ruszkowski went to live in Paris, where he became closer to the work of Cezanne and the countryside around Aix-en-Provence in the south of France. In 1939 he stayed in Versailles, but the threat of war in Europe affected his enthusiasm to paint and in 1940 he left France for England to serve with the Polish army based in Scotland until 1944. Ruszkowski's preoccupation with light assumed a major influence in his work from the mid-50s and large areas of dark shadow are used to achieve contrast, form and expression. Light also plays a constructional role in his paintings and transitions from shadow to light have defined shape and colour. There is an artist's Catalogue Raisonne produced by Michael Simonow.

Various ArtistsA small collection of Old Master and Modern Prints Hollar etching 'Bust of a Negress', 1645, 75 x 55mm, together with Piranesi etching 'The Pier with Chains' (R42), plate 16 from 'Carceri', fifth state, on heavy laid, with central vertical fold, 405 x 552mm (PL), anonymous etching 'Head Studies', after Durer Rhinocerus, after Jacques Callot one etching from 'Balli Sfessania', Cezanne etching 'Guillaume Pendu', Elyse Ashe Lord 'Musician', etching with hand colouring, signed and numbered 38/75 in pencil, 405 x 550mm (15 7/8 x 21 5/8in)(and smaller)(7)For further information on this lot please visit Bonhams.com

Art reference books to include Cezanne by himself, Vincent by himself, The drawings of Richard Wilson by Brinsley Ford, Secret Knowledge by David Hockney and others (17) Provenance: Long Court, Randwick, Glos