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Burnett, an Impressionist view of Paris with figures strolling, oil, signed lower left, 17 x 22cm, gilt framed

Impressionist view of a Victorian beach scene with a gathering of figures viewing sailboats, oil, 16 x 46cm, framed and glazed

1920's Impressionist oil on board of a house with battlements

JOAQUIN SOROLLA Y BASTIDA (1863-1923) | HANDWRITTEN SIGNATURE (SPAIN / SPANISH) | 1907 | profession: Painter | country: Spain | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten signature on a paper card | Lot information | Handwritten signature of the famous Spanish painter Joaquin Sorolla y Bastida, dated Madrid, July 1907. The elegant signature is accompanied by the characteristic underline, which was typical of Sorolla.Sorolla is considered one of the most important Impressionist and Luminist painters of the late 19th and early 20th centuries. His works are distinguished by masterful captures of light, color harmony, and exceptional brush technique. He is best known for his scenes of life on Spanish beaches, portraits, and monumental historical paintings, including the "Vision of Spain" series created for the Hispanic Society of America in New York.

19th century plein air impressionist oil on panel, continental landscape with a view of a castle, inscribed verso. Unframed. 18.7cm x 26.9cm

French impressionist school, Late 19th C. Manner of Pierre Bonard, French 1867-1947. Still life depicting fruit, flowers and objects. Oil on canvas, partial indistinct signature centre left. 45 x 55cms

Impressionist school, possibly East European. Water meadows and reeds with town in distance. Signed indistinctly. 

Post Impressionist school, 20th C.  A house plant. Oil on board, unsigned. 43.5 x 32.5cms

Middle Eastern school (early 20th century). A pair of impressionist street scenes, possibly Morroco? Oils on canvas 23.5 x 36.5 cm. each in period gilt gesso frames.

Marie Charlot : Impressionist study of figures beside cottages, oil on canvas, 61 cm x 89 cm

An oil on board impressionist beach scene in the style of Andre Hambourg (French 1909-1999). Signed (lower left) 'B---- M S---', 14.5cm x 23cm, framed and glazed Condition Report: Appears in an excellant condition, no visible issues. Double mounted.

Lowes Dalbiac Luard (1872-1944), an early 20th century Impressionist style oil on board depicting a figure with a horse pulling a hay cart on a rural landscape in a gilt frame with another panting and inscribed labels to the reverse. H.21 W.27cm

Susan Ryder (b.1944), a 20th century Impressionist style watercolour landscape study titled 'Dragon River, Karst Mountains', signed to the lower right in a glazed frame with a label to the reverse. H.45.5 W.52.5cm

Miniature impressionist oil on board, Study of a sow and piglets, indistinctly signed J. Bradley ...?, 10 x 14cm. Condition – good

VINCENZO APRILE (ITALY 1952) TWO CONTEMPORARY IMPRESSIONIST STYLE PICTURES, comprising 'Sun Terrace, Capri' a view looking over a bay signed bottom right, signed and titled verso, approximate size 17cm x 23cm, together with 'Piazza Tasso, Sorrento' a view of the town square, signed bottom right, signed and titled verso, approximate size 17cm x 23cm, both are oil on board, Condition Report: paintings are in good condition, small knocks to the frames

Circa Mid XX Century School, Impressionist figure study mixed media in pastel, pencil and watercolour, 75 x 58.5cm.

Lizzie Coles Keith, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I'm a visual person, all about shapes and symmetry, expressing this through my love of interior design, fashion and typography. I notice how things fit together and line up, I get easily distracted by how a curve leans into a surface or how the weight of chunky lettering helps a delicate photograph on a vintage poster. I'm impressed by figurative art that has personality as well as graphic, bold, abstract artwork. I try hard to combine at least a few of these elements in my art. My background is a little more eclectic than I'd planned. All I ever wanted to do was draw people, but I didn't really understand what a career doing that looked like. I was removed from Fine Art when it was obvious that I am colourblind, so I switched to Animation, because I'd seen an old film of Disney artists drawing Cinderella sat in a circle around a dancing actress. I hated the Animation degree, their obsession with concept over drawing quality didn't inspire or encourage me. I then worked in advertising as a business director supporting big brands such as John Lewis, Barclays, Vittel, Ryvita and L'Oréal. Whilst I loved the glamour of clicking across Soho with my Gwyneth Paltrow cropped hair and skyhigh heels, I dropped it all when I got impossibly pregnant (I'd been told after too many operations that it wouldn't be an option) So, the next chapter began when my husband, (together since we were 16) our new 1 year old and a massive bump, soon to become kid number 2 all emigrated to Paris. I adore Paris and thoroughly enjoyed hanging out with our kids and made friends for life. When the kids went to school, I was lucky enough to draw at the Académie de la Grande Chaumière, indulging in 8 hours a week of life drawing for 5 years. This was an absolute joy and such a privilege to be in surroundings established over a 100 years ago, once inhabited by the best French Impressionist painters. My French isn't as good as it could be, I could chat to a 10-year-old about peanut flavoured crisps but it became apparent that my knowledge of chemistry or history in French was a bit lax. With a heavy heart, we returned to the UK to support the kids through their education - don't ever mention Brexit to me. It's taken me a while to find my feet, hugely sidetracked with breast cancer and a year of chemo and radiotherapy (now fully in remission, thankfully), I've been a full-time artist for 3 years now and intend to stick at this for a while, hopefully. 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.

PHILIP HUGH PADWICK (1876-1932). Three impressionist landscapes etc., unsigned, oils on board, unframed, 25 x 36 cm (From a studio sale)

DENIS PEPLOE (1914-1993). A impressionist still life study 'Fruit & Flowers', exhibited Nov- Dec 1954, see Aitken Dott & Son (The Scottish Gallery) Edinburgh label verso, unsigned, oil on board, framed, 39 x 49 cm

PHILIP HUGH PADWICK (1876-1932). Three impressionist landscapes etc., unsigned, oils on board, unframed, 25 x 36 cm (From a studio sale)

PHILIP HUGH PADWICK (1876-1932). Three impressionist landscapes etc., unsigned, oils on board, unframed, 25 x 36 cm (From a studio sale)

PHILIP HUGH PADWICK (1876-1932). Three impressionist landscapes etc., unsigned, oils on board, unframed, 25 x 36 cm (From a studio sale)

A 20TH CENTURY CONTINENTAL IMPRESSIONIST ROCKY COASTAL SCENE, with sailing vessels. indistinctly signed with monogram lower left and inscribed and dated 1979 lower right, oil on board, framed, 38 x 49 cm

* ALEXANDER MILLAR (SCOTTISH b. 1960), HAPPY DAYS oil on canvas, signedframedimage size 76cm x 60cm, overall size 95cm x 80cm Note: Ayrshire born Alexander Millar, one of the UK’s most loved and collectable artists, is a self-taught, contemporary impressionist artist, whose work depicts the small wonder of the everyday. He is one of the few living artists in the UK who have had museum exhibitions in Newcastle (The Great North: Hancock), Glasgow (Scotland Street Museum) and New York (The Fire Dept. Museum of New York). His work has also been displayed in public venues, such as shopping centres and metro carriages, as well as being used as scenic backdrops for theatrical productions. His atmospheric landscapes capture memories of life in the 50's and 60's and his impressionist brush strokes and tones create a romantic view of that era, often playing with the effect of light as it is reflected on a wet tiled roof, transporting the viewer back to the cityscapes of their own childhood. From an early age he has viewed his surroundings and the people he grew up with as if they were a carefully choreographed street ballet: old men on bikes coming home from a hard day’s graft, the gossiping women standing on the street corner or the working man staggering home after a payday night on the town.

* ROSS MUIR (SCOTTISH b. 1981), OH JESSICA artist's proof giclee print on paper, signed, titled and inscribed A/Pframed and under glassimage size 97cm x 80cm, overall size 112cm x 95cmNote 1: Certificate of authenticity is included in this lot Note 2: Glasgow artist Ross Muir hit the headlines in 2018 when his original painting of the Dutch impressionist Vincent van Gogh, entitled “Square Gogh”, went viral within a matter of days. Muir’s wide-spread success on social media saw many galleries interested in his work. In October 2019, Muir had his first ever solo exhibition in Glasgow’s City Centre. The exhibition was a huge success and was sold-out before even opening the doors. A second solo show in Glasgow was scheduled for 2020 but the pandemic put everything on hold. Throughout the first national lockdown, Muir turned his creativity to the streets, with posters of his signature Vincent Van Gogh portrait – featuring the words ‘Jist Gogh Hame’ – appearing all over the city of Glasgow. As a message that was both witty and incredibly relevant, Muir’s artwork resonated with its onlookers and soon garnered international attention through social media. In 2020, Muir’s work was recognised by the official Van Gogh Museum in the Netherlands, with the institution proudly posting Muir’s artwork on their Instagram account to announce the temporary closing of the gallery. In 2021 Maddox Gallery (London) "signed" Muir and he joined a roster of artists which includes The Conner Brothers, Bradley Theodore and Joseph Klibansky, alongside established names like RETNA, the photographer David Yarrow, and world-renowned figures such as Banksy, KAWS, Jean-Michel Basquiat and Keith Haring. The influential Maddox Gallery staged Ross Muir's first London show in May 2022.

Late 20th Century British Impressionist School A busy day at the beachsigned and dated 'E Stimal', 1938oil on canvas41 x 50cm housed in a modern gilt frameFrame size: 55cm x 64cm

LIONEL BULMER (BRITISH 1919-1992) ⊕ LIONEL BULMER (BRITISH 1919-1992)TWO WOMEN READING ON THE SOFAoil on canvas38.5 x 61cm; 15 x 24inunframedLIONEL BULMER (LOTS 40-55) Introduction Lionel Bulmer’s coastal views of summer on the Suffolk coast came to define his career. His impressionistic style was ideally suited to evoking the realism of a hot summer's day on the sand dunes. The critic Ian Collins noted of Bulmer’s work: ‘the season appears to be one of permanent summer.’The son of an architect, Bulmer's studies at Clapham School of Art were interrupted by being conscripted at the outbreak of the Second World War. On being de-mobbed he studied at the Royal College of Art, at that time relocated in Ambleside in the Lake District, where he met fellow artist and life partner to be Margaret Green (see lots 56-67). When the RCA returned to Kensington Bulmer and Green were taught by, among others, Ruskin Spear and Carel Weight. When Green received an RCA travel scholarship the couple embarked on a tour of discovery, painting their way through France and Ireland for the best part of a year. On their return to London they settled in Chelsea, Bulmer taught at Kingston School of Art while Green taught at Walthamstow School of Art and they both exhibited at the Royal Academy and New English Art Club. Tiring of the austerity and smog of post-War London they sought out life in the countryside. Initially they lived above a boat house in Littlehampton, on the Sussex coast, but soon moved to an ancient thatched cottage surrounded by run down gardens in Shelland, near Stowmarket, Suffolk, which they lovingly restored. From there they set out on their frequent painting expeditions to the coastal communities of Southwold and Walberswick.Untouched by heavy industry, the area represented a rural idyll that was to become the central motif of Bulmer’s work. Popular since the 18th century as a destination for seawater swimming, and following in the footsteps of the painter Philip Wilson Steer (1860-1942), Bulmer was drawn to recording beach scenes and bathers. Steer had made the East Coast his painting ground after returning from studying on the Continent and brought Impressionist painting to England. Bulmer’s pointillist style reflects both Steer's influence and also more directly that of the Neo-Impressionists, Georges Seurat (1859-1891) in particular.This work is unframed. This work is in very good original condition. The work has been examined under ultraviolet light and there is no evidence of restoration.

MONET CLAUDE: (1840-1926) French Impressionist painter. A poignant A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 27th May 1899, to Francois Depeaux, written in the artist´s characteristic purple ink on black bordered mourning stationery. In the months following the death of his fellow Impressionist artist, Alfred Sisley, Monet writes with concern for Sisley´s children and their finances, in full, ´Je comprens parfaitement que vos occupations d´affaires ne vous laissent pas tout le loisir que vous voudriez, mais il y a l´affaire des enfants Sisley à laquelle nous nous sommes attachés et qu´il faudrait terminer une fois pour toutes. Il ne faudrait pas que ces enfants s´habituent à demander de l´argent chez M. Chevalier au fur et à mesure de leurs besoins et se figurent qu´ils ont un capital inépuisable. Vous etes de cet avis je le sais, mais il faudrait qu´ils soient mis au plus tot au courant de leur situation. Je n´ai pas qualité pour m´occuper de cela, et j´ai du reste assez payé de ma personne pour vous prier de ne pas perdre de vue le role final de nos efforts communs. Je sais que Pierre Sisley ne travaille que d´une facon intermittente, ce qui est facheux et cela peut etre parce qu´il ne sent pas pris par la nécessité. Il y a aussi à s´assurer que toutes dettes sont payées. Enfin mon grand souci c´est la responsabilité qui nous fait un devoir de conseiller ces enfants et de placer leur avoir en de bonnes conditions. J´ai beau vouloir n´y pas penser, c´est plus fort que moi et je trouve que nous devons au plus vite régulariser tout cela. C´est urgent selon moi et c´est ce qui me fait insister à vous demander un entretien qui me procurera le plaisir de vous voir. Bien en hate et avec l´espoir de votre prochaine venue´ (Translation: ´I fully understand that your business commitments do not leave you all the time you would like, but there is the matter of the Sisley children to which we have become attached and which must be settled once and for all. These children should not get into the habit of asking Mr Chevalier for money as and when they need it and imagine that they have an inexhaustible supply. I know you are of this opinion, but they should be made aware of their situation as soon as possible. I am not qualified to deal with this, and I have already put in enough personal time and effort, so please do not lose sight of the ultimate goal of our joint efforts. I know that Pierre Sisley only works intermittently, which is annoying and it may be because he doesn't feel driven by necessity. There is also the matter of ensuring that all debts are paid. Finally, my main concern is the responsibility that makes it our duty to advise these children and to place their assets in good conditions. I can try as I might not to think about it, but I can't help it and I think we need to sort all this out as quickly as possible. I think it's urgent and that's why I'm insisting on asking you for an interview, which will give me the pleasure of seeing you. I look forward to it and hope you will come again soon´). A letter of fine and compassionate content. Some light creasing and one small tear (repaired to a very high standard and not affecting the text or signature). About VGFrancois Depeaux (1853-1920) French industrialist, art collector and patron.Alfred Sisley (1839-1899) British Impressionist landscape painter, a friend of Monet and Pierre-Auguste Renoir. Together the three artist would paint landscapes en plein air rather than a studio. Sisley died on 29th January 1899, just a few months after his wife had passed away, leaving two children, a son, Pierre, and a daughter, Jeanne.

MONET CLAUDE: (1840-1926) French Impressionist painter. An interesting A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 12th October 1921, to Monsieur [Lucien] Moline, in French. The artist writes in bold pencil and states that he has just returned from a trip and ´trouve une lettre de Madame Donop de Monchy qui s´étonne aussi que je ne reconnaisse pas cette toile de la gare d´Argenteuil, bien qu´elle me dise qu´elle est peut-être de Manet (Ce que je ne crois pas) que de Bellio lui a toujours dit qu´il la tenait de moi´ (Translation: ´found a letter from Mrs Donop de Monchy, who was also surprised that I did not recognise this painting of Argenteuil station, although she told me that it might be by Manet (which I do not believe) that de Bellio had always told her he got it from me. It is possible and it might be by me´), further remarking ´Je suis vieux, ma mémoire peut me faire défaut et dans ce cas ma conscience m´oblige à refuser de mettre mon nom au bas de cette toile dont je n´ai pas souvenance. Ne voyez , je vous prie, aucune mauvaise part dans ma decisión et croyez à tous mes regrets´ (Translation: ´I am old, my memory may fail me and in that case my conscience compels me to refuse to put my name at the bottom of this canvas of which I have no recollection. Please do not see any bad part in my decision and believe me when I say how sorry I am´). Together with an original vintage 6.5 x 4.5 (approximately 16.5 x 11 cm) photograph of the painting to which Monet refers in his letter, being La gare d´Argenteuil (1872), signed and inscribed by Monet in blue ink to the verso, ´La toile que reproduit m´a tout l´air d´être de moi, sans oser l´affirmer. C´est si lointain vers 1872 ou 1873. Claude Monet´ (Translation: ´The canvas that is being reproduced looks to me as if it were all mine, without daring to say so. It is so distant, around 1872 or 1873. Claude Monet´). A fascinating letter and accompanying photograph, which was indeed a painting by Monet created in 1872. The letter in very good condition and the photograph with some light age wear, a couple of surface creases, and some foxing to the verso, G to VG, 2Lucien Moline was a well known French art dealer and agent, who also represented the sculptor Auguste Rodin, and operated from a gallery on Rue Laffitte in Paris.La gare d´Argenteuil (1872) is an oil painting that appears in Daniel Wildenstein´s catalogue raisonné of Monet. The artist sold the painting to the Durand-Ruel Gallery in 1872 and was possibly restored to Monet since there is no reference to it in Durand-Ruel´s ledgers. It was subsequently sold to De Bellio in June 1876, and then to Madame Donop de Monchy (the catalogue raisonée indicating that she acquired the painting in around 1940, although the present letter demonstrating that she owned it at least several decades earlier). On 25th May 1986 it appeared at auction and was acquired by the Conseil Général of the Val-d´Oise department, and subsequently entrusted to the Musée Tavet-Delacour in Pontoise.Many art historians believe that Monet, out of all of the notable 19th century artists, made the most paintings of trains in his lifetime.

MONET CLAUDE: (1840-1926) French Impressionist painter. An important collection of three outstanding A.Ls.S. by Monet to various correspondents, including Suzanne Manet and Camille Pissarro, regarding the raising of funds by public subscription for the acquisition of Edouard Manet´s famous masterpiece, the oil painting Olympia (1863). The collection comprises (in chronological order) -(i) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 26th August 1889, to [Jean-Baptiste] Faure (´Mon cher Faure´), in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je viens vous demander si vous voulez participer à la souscription que nous faisons entre amis et admirateurs de Manet pour acheter l´Olympia de Manet et l´offrir au Louvre. Nous serions très heureux de vous compter parmi nous pour cette manifestation toute artistique. Je sais bien que ce tableau de Manet n´est pas votre préféré mais si nous l´avons choisi c´est surtout parce qu´il appartient à Madame Manet à laquelle nous voulons discrètement venir en aide, et aussi parce qu´il était le tableau préféré de Manet. C´est un bel hommage à rendre à l´artiste et j´espère bien que vous me ferez une réponse favorable. Vous priant de me dire pour quelle somme je dois vous inscrire. Je vous adresse la liste des souscriptions à ce jour´ (Translation: ´I have come to ask you if you would like to take part in the subscription that we, Manet's friends and admirers, are making to buy Manet's Olympia and offer it to the Louvre. We would be very happy to count you among us for this artistic event. I know that Manet's painting is not your favourite, but we have chosen it mainly because it belongs to Madame Manet, whom we wish to discreetly help, and also because it was Manet's favourite painting. It is a fine tribute to pay to the artist and I very much hope that you will give me a favourable response. Please let me know the amount I should register you for. I am sending you the list of subscriptions to date´). Some light age wear and a lengthy, neat split to the central vertical fold of the bifolium.Jean-Baptiste Faure (1830-1914) French baritone and art collector. An enthusiastic and avid collector of Impressionist art, Faure sat for multiple portraits by Edouard Manet, and owned more than sixty paintings by the artist (including another masterpiece Le déjeuner sur l´herbe). Faure´s collection also featured works by Monet, Edgar Degas, Alfred Sisley, and Camille Pissarro.(ii) A.L.S., Claude Monet, four pages, 8vo, Giverny par Vernon, Eure, 13th November 1889, to [Suzanne Manet] (´Chère Madame´), in French. Monet states that he has received his correspondent´s kind letter, and was happy to have been able to please her, continuing to remark ´Vous savez combien j´aimais votre cher mari et combien je serai fier d´avoir pu contribuir à lui faire obtener la place à laquelle il a tant de droits´ (Translation: ´You know how much I loved your dear husband and how proud I will be to have been able to help him obtain the position to which he is so entitled´) and further writing ´Il ne faut pas nous illusioner car ce qui vous parait si naturel parait à d´autres bien audacieux et ce qui est triste à dire il y a encore des ennemis qui refusent de se rendre, mais pour ma part je puis vous assurer que je ne me rebuterai pas et que je ferai tout pour arriver au but que nous voulons´ (Translation: ´We must not delude ourselves because what seems so natural to you seems very bold to others and sadly there are still enemies who refuse to give in, but for my part I can assure you that I will not be discouraged and that I will do everything to achieve our goal´) and concluding by adding ´Mr. Portier que vous avez vu, m´ecrit pour me demander ce que vous devez faire de l´Olympia. Je crois que le mieux , si l´on vous aporte d´autres tableaux, de prendre également l´Olympia chez vous… à moins cependant que vous le mettez chez Madame Eugène Manet [Berthe Morisot], mais il ne faut pas douter… que nous avons encore un mois de pourparlers avant d´obtenir satisfaction et dont je vous mettrai au courant´ (Translation: ´Mr Portier, whom you saw, has written to ask me what you should do with the Olympia. I think that the best thing, if we bring you other paintings, is to also take the Olympia to your place... unless, of course, you put it at Madame Eugène Manet's [Berthe Morisot], but there's no doubt about it... that we still have a month of talks before we get satisfaction, and I will keep you informed´). Some light overall age toning, evidently a result of the letter having previously been framed, the text of two pages (including the final one, with Monet´s signature) somewhat faded, although still legible. One small area of paper loss to a corner, professionally repaired to a satisfactory standard.Suzanne Manet (1829-1906) Dutch pianist, the wife of Edouard Manet, for whom she frequently modelled. Berthe Morisot (1841-1895) French Impressionist painter, the wife of Eugène Manet, brother of her friend and fellow artist Edouard Manet.(iii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 23rd November 1889, to Camille Pissarro (´Mon cher Pissarro´), in French. Writing in his characteristic bold purple ink, Monet acknowledges receipt of his friend´s letter and their contribution of 50 francs in the form of a money order to the Manet subscription fund, although adding that there was no urgency. Monet also explains that the fund now holds 18,500 francs and that he hopes to reach a round figure very soon, however the painter continues to state ´Mais il reste le plus difficile, l´admission de notre don par l´état et je sais déjà que pendant que je travaille à arriver au résultat, d´autres travaillent aussi mais en sens inverse et pour faire avorter notre oeuvre. Proust le premier m´a écrit, tout en souscrivant, qu´il ne voulait pas se charger de faire accepter ce tableau par l´état, considérant L´Olympia coome un des moins bons Manet´ (Translation: ´But the most difficult part remains, convincing the state to accept our gift, and I already know that while I am working to achieve the result, others are also working, but in the opposite direction and to abort our work. Proust was the first to write to me, and although subscribing, he does not want to take charge of making the state accept this painting, considering L'Olympia as one of Manet's least good works´) further describing Proust´s reaction as silly and comical. In concluding Monet remarks ´Mais je crois qu´il est du devoir des artistas de pousser cette affaire, quant à moi je ferai tout pour arriver à notre but´ (Translation: ´But I believe it is the duty of artists to push this matter, and for my part I will do everything to achieve our goal´).Camille Pissarro (1830-1903) French Impressionist painter. An absolutely remarkable trio of letters relating to one of the most famous and iconic paintings in the history of Impressionist art. G to VG, 3Autograph letters by Monet on the subject of Olympia, most of which were addressed to friends in his artistic circle, are highly desirable and each of the present three examples display individual merits in both their exceptional content and associations.

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist artist. A brief A.L.S., Renoir, to the verso of his personal printed oblong 12mo Visiting Card, featuring his printed name (´Pierre Renoir´) to the centre and with address at Rue Caulaincourt (Paris) to the base, n.p. (Paris?), n.d., in French. Renoir writes, in full, ´Prière a madame Franck-Lancey (?) de donner la biciclette à Mr. Dorival´ (Translation: ´Please ask Mrs Franck-Lancey (?) to give the bicycle to Mr Dorival´). Some very light, extremely minor age wear, VGIn the present letter Renoir is most likely to be referring to the French actor Georges Dorival (1871-1939) who was also a painter and art collector. Renoir and Dorival maintained a long friendship, despite their 30-year age difference, and the actor was portrayed by the painter in 1900 in a work entitled Dorival comme le bourgeois gentilhomme.

MONET CLAUDE: (1840-1926) French Impressionist painter. Concluding page of an A.L.S., ton Monet qui t´aime, one page, 8vo, (Christiania, i.e. Oslo, Norway), n.d. (February 1895), to [Alice Hoschede], in French. Monet writes, in full, ´te sera difficile de me donner de tes nouvelles apres le recu de ces lignes, cependant je vais tacher de m´arranger pour savoir ou je descendrai a Hambourg et quel jour tu pourrais m´y ecrire a bientot ma bonne cherie quelle joie pour moi je t´envoie toutes ma tendresse et baisers pour tou, ton Monet qui t´aime´ (Translation: ´It will be difficult for you to give me any news after receiving these lines, but I will try to find out where I am going to stay in Hamburg and what day you could write to me there. See you soon, my dear, what a joy for me I send you all my love and kisses for you, your Monet who loves you´) and in a postscript added in the evening the artist further adds ´Me voici arrive a Christiana ou je suis au Grand Hotel. Sans doute jusqu´a dimanche. Demain a lieu la promenade en bateau. Baisers a tous´ (Translation: ´I have arrived in Christiana where I am staying at the Grand Hotel. Probably until Sunday. Tomorrow is the boat trip. Kisses to all´). A couple of minor creases and one very light stain, not affecting the text or signature, otherwise VGAlice Hoschede Monet (1844-1911) French artists' model, wife of the art collector Ernest Hoschede and later of the Impressionist painter Claude Monet (from 1892).Claude Monet’s trip to Norway in 1895 was perhaps the most physically taxing of all his many painting campaigns. Touring the country with his stepson Jacques Hoschedé, who lived in Christiania, he was awestruck but initially frustrated in his search for good subjects amid the snow. Despite this discontent, Monet painted twenty-nine Norwegian scenes during his two-month stay.

[MONET CLAUDE]: (1840-1926) French Impressionist painter. MIRBEAU OCTAVE (1848-1917) French novelist and art critic. An excellent A.L.S., Octave Mirbeau, three pages, 8vo, n.p., n.d., to Claude Monet, in French. Mirbeau commences his letter by thanking Monet a thousand times for a gift (possibly a painting?) and a portrait photograph, remarking ´Les oliviers que je connaissais sont superbes de lumière en dessous, et je me retrouve là-bas, sous leurs branches que j´aime tant. Et quant à votre photographie, qui m´a été aussi une surprise exquise, c´est un chef d´oeuvre. Vous etes, vous tout entier, male, puissant, avec votre oeil qui dompte le soleil.....´ (Translation: ´The olive trees that I knew are superb in the light below, and I find myself there, under their branches that I love so much. And as for your photograph, which was also an exquisite surprise for me, it is a masterpiece. You are, all of you, male, powerful, with your eye taming the sun...´) and continues by trying to lift his friend´s spirits, ´Maintenant, parlons de vous en peu. Est-ce que vraiment vous allez devenir fou, vous? Et vous laisser abattre comme un vulgaire bonhomme? Comment, jamais vous n´avez été en possession de votre art, comme maintenant, et parce que, cette année, le temps vous a contrarié, vous allez tout envoyer promener! Vous le retrouverez le temps qu´il vous faut; et vous ferez d´admirables chefs d´oeuvre. Nom d´un chien, mais c´est enrageant, ce qui vous prend; et cette énergie dont vous avez donné tant de preuves, où donc est-elle maintenant?´ (Translation: ´Now, let's talk about you for a bit. Are you really going to go mad? And let yourself be brought down like a common man? How can you, when you have never been in possession of your art like you are now, and because the weather has upset you this year, you are going to throw it all away! You will find it again in time; and you will produce admirable masterpieces. Damn it, it's infuriating, what's got into you; and that energy of which you have given so much proof, where is it now?´), further writing ´Voulez-vous que je vous dise, mon ami?.......Mais, écoutez-moi bien, il y a aussi une cause purement physique;........les lubies - passagères d´ailleurs - prennent l´homme le mieux trempé. Mais cést pas grave. Il faut vous secouer; et la pire des choses pour vous, est de rester couché des journées entières, comme vous me dites. Il faut secouer cela, rigoureusement. Vous avez eu le plus grand tort de ne pas venir ici. Si vous ne vous sentez pas en veine de travail, encore, il ne faut pas vous acagnarder.........Remuez, voyagez, allez de l´un á l´autre. Vous savez que la maison ici est votre. Pourquoi ne venez-vous pas passer quelques jours?......Venez. Nous causerons de Monet; nous ferons l´article ensemble. Ca ne va pas, non plus, cette affaire-là? Et bien, nous tacherons de la faire aller. J´ai un ami puissant dans le gouvernement, un homme qui deviendra peut-etre, Napoleon.....il nous aidera. Voyons, mon cher Monet, je vous en prie, retrouvez votre belle energie des beaux jours. Moquez-vous de cet idiot de Wolff. Il n´empechera pas que vous etes un grand artiste, et que votre succès se ralentisse. Car vous avez franchi les dures portes, et vous etes en plein horizon. Cela est mathématique. Rien ne peut vous faire perdre les positions conquises, rien que votre découragement et votre inertie´ (Translation: ´Do you want me to tell you, my friend?.......But, listen to me carefully, there is also a purely physical cause;........whims - passing whimss at that - take even the steeliest man. But it doesn't matter. You have to shake yourself awake; and the worst thing for you is to lie in bed for days on end, as you tell me. You have to shake it off, rigorously. You were very wrong not to come here. If you don't feel like working, again, you mustn't hide away.........Stir yourself, travel, go from one to the other. You know that the house here is yours. Why don't you come and spend a few days?......Come. We'll talk about Monet; we'll do the article together. That's not going well either, is it? Well, we'll try to make it work. I have a powerful friend in the government, a man who may become Napoleon... he'll help us. Come now, my dear Monet, I beg you, rediscover your wonderful energy of the good times. Make fun of that idiot Wolff. He will not prevent you from being a great artist, and your success from slowing down. For you have passed through the difficult doors, and you are in full view. This is mathematical. Nothing can make you lose the positions you have conquered, only your discouragement and your inertia´). Mirbeau encourages Monet to write to him soon and let him know that he is feeling better, and also writes of his own current work, ´Mon roman se poursuit; le temps ne me derange guère, et cést stupide ce que je fais. Mais je crois que je deviens philosophe. Je regrette de ne pas faire mieux; mais puisque je ne peux pas, je me fais à la place, une raison. Vous verrez ca bientot, en effet; ce que je vous demanderai, ce sera de ne pas trop me blaguer. Il y avait un péril très grand dans mon livre, c´etait de tomber dans l´enfantillage. Or j´y suis tombé, naturellement´ (Translation: ´My novel is continuing; time doesn't bother me much, and what I'm doing is stupid. But I think I'm becoming philosophical. I regret not doing better; but since I can't, I'll make myself a reason instead. You'll see that soon enough; what I'll ask of you is not to joke too much with me. There was a very great danger in my book, which was to fall into childishness. Well, I fell into it, naturally´) and concludes his letter by again writing with positivity, ´Ce que je vous dis est la vérité pure. Mde. Hoschedé a du vous le dire certainement. Le seul danger, c´est de vous laisser aller à des découragements, que vous n´avez pas le droit d´avoir. Voyons, quand venez-vous? Toute de suite, hein! Je vous embrasse tendrement; me femme qui vient de lire ma lettre, dit qu´elle est illisible, et écrite betement; mais, tout de meme, elle l´approuve. Merci encore, mon cher ami, de votre superbe et trop magnifique don, merci de votre photographie. Et méditez ce que je vous raconte dans ma lettre, qui est, en effet, stupidement tournée, mais qui est, tout de meme, un che f´oeuvre de raison´ (Translation: ´What I'm telling you is the absolute truth. Mrs Hoschedé must have told you that. The only danger is that you will become discouraged, which you have no right to do. Come on, when are you coming? Right away, eh! I send you my warmest regards; my wife, who has just read my letter, says it is illegible and badly written, but she approves it all the same. Thank you again, my dear friend, for your superb and magnificent gift, thank you for your photograph. And meditate on what I tell you in my letter, which is, indeed, stupidly worded, but which is, all the same, a masterpiece of reason´). A letter of excellent content and association from Mirbeau to Monet, the artist whom he sang the praises of. VGMirbeau´s mention of Napoleon in the present letter is evidently a reference to Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of the impressionist painter, writing a short biography on the artist, and was also instrumental in persuading Monet to have a cataract operation in 1923.The source of Monet´s apparent depression may well have been the French writer and art critic Albert Wolff (1825-1891), mentioned in the present letter. Wolff strongly opposed Impressionism and an 1876 Impressionist Exhibition (at which Monet displayed eighteen paintings).

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

MANET EDOUARD: (18[32-1883) French Painter. Manet is widely regarded as the founder of Impressionism painting. A good A.L.S., `E. Manet´, one page, n.p., n.d. [`Friday´], to Claude Monet, in French. Manet writes to his good friend and colleague Monet, in full, ‘Merci mon cher Monet, mais je vous croyais plus... que cela. Pour moi c´est comme un cauter sur une jambe de bois. Je suis fâché de vous savoir malade, j´espère que cela ne sera rien, amitiés´ (Translation: "Thank you my dear Monet, but I thought you were more... than that. For me it is like a cautery on a wooden leg. I am sorry to know that you are ill, I hope it will be nothing, I send you my friendly regards"). Paper with atermark. VGClaude Monet (1840-1926) French Impressionist Painter.

PISSARRO CAMILLE: (1830-1903) French Impressionist painter. A.L.S., C. Pissarro, two pages (written to the first and fourth sides of the black bordered mourning bifolium stationery), 8vo, Hotel d´Angleterre, Rouen, 24th August 1898, to his son Rodolphe, in French. Pissarro commences his letter by stating ´Je viens d´ecrire a Durand d´envoyer 600f a Lucien tu toucheres 200f de ta pension´ (Translation: ´I have just written to Durand to send 600f to Lucien and you will receive 200f of your pension´) and continues ´J´apprends par ta lettre a ta mere que tu ne te sens pas bien a Londres, si il en est-ainsi, il ne faut pas y rester, reviens immediatement il ne faut pas plaisanter avec cela, previens Lucien que tu ne te sens pas bien que tu reviens, car il ne faut pas attendre que tu tombes malade, tu pourrais revenir par Rouen, ou filer a Eragny, voila mon avis´ (Translation: ´I learn from your letter to your mother that you are not feeling well in London, if that is so, you must not stay there, come back immediately, you must not joke about it, tell Lucien that you are not feeling well that you are coming back, because you must not wait until you fall ill, you could come back by Rouen, or go to Eragny, that is my opinion´), further adding that he was expecting a letter from him, adding ´C´est inutele de t´envoyer des journaux si tu reviens, car je ne tiens pas que tu restes a Londres si cela ne va pas, il faut se décider carrément et ne pas rester´ (Translation: ´It's pointless sending you newspapers if you come back, because I don't want you to stay in London if things don't go well, you have to make up your mind and not stay´). In concluding Pissarro asks hor his love to be given to Lucien and his wife and child and requests Rodolphe to ´ecris moi sans tarder ce que tu comptes faire´ (Translation: ´write me as soon as possible what you intend to do´), and in a postscript adds ´Veux tu faire savoir a Lucien ce que je t´ecris et le prevenir qu´il recevra sa pension ces jours ci´ (Translation: ´Will you let Lucien know what I am writing to you and warn him that he will be receiving his pension in the next few days?´). VGLudovic-Rodolphe Pissarro (1878-1952) French painter and engraver.Lucien Pissarro (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists and the Barbizon School.

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist artist. A.L.S., Renoir, one page (folding letter card stationery), small 8vo, n.p. (Paris), n.d. (12th October 1918), to [Maurice] Gangnat (´Mon cher ami´), in French. Renoir writes, in full, ´Je suis tellement fatigue de tout, toujours souffrant, qui j´ai ete oblige de refuser la vente a trois marchands de tableaux qui se sont casses le nez. J´ai trop de peine pour ne pas faire grand chose que je ne laisserai pas sortir ma toile´ (Translation: ´I'm so tired of everything, still suffering, that I've had to refuse to sell to three art dealers who wasted my time. I'm in too much pain not to be able to do much that I won't let my painting go´). Addressed in another hand to the verso. A couple of very slightly irregular edges, otherwise VGMaurice Gangnat (1856-1924) French engineer and art collector who had his portrait painted by Renoir in 1916.

DEGAS EDGAR: (1834-1917) French Impressionist painter. A.L.S., Degas, one page, 8vo, n.p., n.d. (´Vendredi´), to [Jean-Charles] Cazin, in French. Degas writes, in full, ´Duranty me charge de vous prévenir qu´il est tres mal. Vous le trouverez a la maison Debois faubourg St. Denis. Il est excessivement faible et comprend son état le chirurgien ne regarde pas son affaire comme désespéree. C´est une complication de maladie de venie et d´hemorroides´ (Translation: ´Duranty has asked me to warn you that he is very ill. You will find him at the Debois house in Faubourg St. Denis. He is excessively weak and the surgeon understands that his condition is not hopeless. It is a complication of venereal disease and hemorrhoids´) A letter with interesting associations. VGJean-Charles Cazin (1840-1901) French landscape painter, museum curator and ceramicist.Louis Edmond Duranty (1833-1880) French novelist and art critic, a supporter of the Impressionists. Duranty was a friend of Degas, who painted a celebrated portrait of him in 1879.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, two pages, 8vo, Giverny par Vernon, Eure, 24th March 1914, to a gentleman, on black bordered mourning stationery, in French. Monet states that he is angry to have known his correspondent was in Giverny on Sunday but did not pay him a visit, explaining ´Le mauvais temps m´ayant empeche de m´absenter comme je le pensais´ (Translation: ´The bad weather prevented me from getting away as I thought I would´) and continuing to remark ´Mais comme il faut absolument en terminer au mieux de chacun voulez vous me faire savoir quand il vous sera possible de venir jusqu´ici sauf samedi prochain en me faisant......l´heure de votre venue´ (Translation: ´But as we absolutely must get this over with to the best of everyone's ability, would you please let me know when it will be possible for you to come here, except next Saturday, and let me know......the time of your arrival´). With integral leaf (on which Monet´s signature appears). Some light creasing and with a small, neat split at the base of the central vertical fold of the bifolium, and the central horizontal fold to the blank integral leaf has at some stage suffered a longer, neat split, which has since been strengthened and repaired, GThe present letter is written in a significant year of the artist´s life. Jean Monet (1867-1914), the painter´s elder son, had passed away on 10th February 1914. His death, coupled with that of Monet´s second wife, Alice, just a few years earlier in 1911, left Monet in a state of depression. It was also during this period that Monet began to develop the first signs of possible cataracts. 1914 was also the year in which Monet drew up plans to construct a new, large studio that he could use to create a ´decorative cycle of paintings devoted to the water garden´ at Giverny which, of course, included several paintings of water lilies.

SISLEY ALFRED: (1839-1899) British Impressionist landscape painter. A.L.S., A. Sisley, one page, 8vo, Moret-sur-Loing, Monday, n.y., to a friend (‘Mon cher ami’), in French. Sisley writes, in full, ‘Seriez-vous libre mercredi? Je viendrai chez vous vers 11h30, nous déjeunerions ensemble et nous causerions. J´ai à voir quelqu´un chez Petit vers 2h30 de sorte que vous pourriez être libre de bonne heure. Si je n´ai pas de réponse ce sera: Oui. Poignée de main.´ (Translation: "Would you be free on Wednesday? I will come to your place around 11:30, we will have lunch together and talk. I have to see someone at Petit's around 2:30 so you could be free early. If I don't have an answer that will mean: Yes. Handshake.") With blank integral leaf. VG

PISSARRO CAMILLE: (1830-1903) French Impressionist painter. A.L.S., C. Pissarro, two pages (written to the first and fourth sides of the bifolium), Eragny-par-Gisors, Eure, 2nd September 1897, to ´Mon cher Jean´, in French. Pissarro writes to ask a small favour of his friend, whom he presumes is settled in Rouen, although firstly apologises for not having attended his friend´s wedding, remarking ´tu as du apprendre combien nous avons ete ennuiyes avec la maladie de Lucien en convalescence ici en ce moment j´espere qui tu ne nous en as pas trop voulu, un jour ou l´autre j´aurai peut-etre l´occasion d´aller a Rouen te serrer la main ainsi qu´a ta femme´ (Translation: ´you must have heard how much we were bothered with Lucien's illness, he is convalescing here at the moment, I hope you did not blame us too much, one of these days I may have the opportunity to go to Rouen to shake hands with you and your wife´) and continuing ´Voici ce dont il s´agit. Un des amis de Lucien Monsieur Ricketts artiste et patron de la maison Hacon & Ricketts editeurs a Londres......nous demande si tu ne pourrais pas recommender une maison qui voudrait se charger d´imprimer des cottons pour la reliure dans le genre de l´echantillon ci-inclus qui est imprime sur papier?´ (Translation: ´This is what it is all about. One of Lucien's friends, Mr Ricketts, artist and proprietor of the firm of Hacon & Ricketts editeurs in London......asks us if you could not recommend a firm that would like to print cottons for bookbinding in the style of the sample enclosed, which is printed on paper?´). Some very light, extremely minor staining to the edges, otherwise VG

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, four pages, 8vo, Fresselines, 28th March 1889, to Gustave Geffroy, in French. Monet apologises for not having sent his friend some news earlier, ´mais comme vous le pensez bien tous mes instants sont pris, et malgré un temps de chien je travaille sans arrêt´ (Translation: ´but as you can imagine, I am very busy, and despite the awful weather, I am working non-stop´), adding that he doesn´t know when he will be able to go to Crozant, and further remarking ´J´ai beaucoup de mal à faire ce pays, tout ce que j´ai fait en arrivant est absurde et bête, je croyais qu´ayant été frappé par cette nature j´allais faire des choses du premier coup, et bien oui, ce n´est qu´à présent que je commence à voir, aussi suis-je bien embêté à cause du peu de temps que j´ai devant moi, il faudrait rester ici des mois pour pouvoir en faire quelque chose de bien´ (Translation: ´I find it very difficult to make this country, everything I did when I arrived is absurd and stupid, I thought that having been struck by this nature I was going to do things right away, well yes, it is only now that I am beginning to see, so I am quite annoyed because of the little time I have ahead of me, I would need to stay here for months to be able to do something good with it´), again writing of the problems he is facing with the weather, ´J´ai beaucoup de choses en train mais comme toujours je suis à la merci du temps, et s´il survient un beau soleil, l´un será fait de plusieures choses sombres et tristes que je tenais surtout à faire´ (Translation: ´I have a lot of things in the pipeline but as always I am at the mercy of the weather, and if the sun comes out, one of the many dark and sad things that I particularly wanted to do will be done´), commenting on his hosts in Fresselines, ´Nous nous entendons très bien Rollinot et moi, et c´est pour moi un regal quand.... j´aurai faite, il se met au piano. Tous deux sont charmants pour moi et j´emporterai un bien bon souvenir de mon séjour ici´ (Translation: ´We get on very well, Rollinot and I, and it's a real treat for me when... he gets on the piano. They're both charming to me and I'll take away some very good memories of my stay here´) and concluding by mentioning a planned exhibition, ´Je voudrais vous donner de bonnes nouvelles de l´exposition Petit mais c´est toujours en suspend. Petit a en vue une grosse affaire, la vente Secrétaire si elle a lieu, nous ne pourrions ouvrir que plus tard, mais alors dans des conditions très douces. Petit a vu Rodin et si cette vente n´a pas lieu, ouvririons le 15 Juin´ (Translation: ´I would like to give you some good news about the exhibition Petit but it is still up in the air. Petit has a big deal in mind, the sale of the Secretary if it takes place, we could only open later, but then under very favourable conditions. Petit has seen Rodin and if this sale does not take place, we would open on 15 June´). Accompanied by the original envelope hand addressed by Monet. A letter of good content and association. A few neat splits to some edges, not affecting the text or signature, about VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Georges Petit (1856-1920) French art dealer, a key figure in the Paris art world and an important promoter of Impressionist artists.Auguste Rodin (1840-1917) French sculptor who exhibited The Kiss at Petit´s gallery in 1887.The joint exhibition by Monet and Rodin at Petit´s gallery in 1889 served to seal Rodin’s position as France’s premier sculptor and opened doors to collections and museums around the world.Monet stayed for three months at Fresselines, in the spring of 1889, at the home of the French poet and musician Maurice Rollinat (1846-1903).

HENRI LEBASQUE (FRENCH 1865-1937) LA COIFFURE Oil on canvas Signed (lower left) 65 x 49cm (25½ x 19¼ in.)Painted circa 1905-1906.Provenance: Galerie du Drap d'Or, Cannes Private Collection, London (acquired from the above in 1971) Thence by descent to the late ownerExhibited: Probably, Paris, Beaux-Arts, Exposition de la Societe nationale des Beaux-Arts, 1909, no. 710 Literature: Denise Bazetoux, Henri Lebasque, Catalogue raisonné, vol. I, Paris, 2008, no. 655, illustrated p. 189The authenticity of this work has been confirmed by Madame Christine Lenoir and Madame de la Ville Fromoit. La Coiffure shows the artist's wife, Ella, and their eldest daughter, Marthe. It is one of the many depictions of domestic and family life painted by the artist throughout his career. These intimate portrayals capture a moment in time, a glimpse into the lives of those they illustrate. For Lebasque, it was one of his favourite subject matter and he frequently painted Ella, Marthe, his younger daughter Nono (christened Helene) and his son Pierre. Lisa Banner discusses the artist's choice of subject matter: "Lebasque's vision of life led him to concentrate upon intimate domestic scenes and close, interior compositions. He was hailed as the painter of "Joy and Light" by art critics and curators of the Louvre in his later life. But Lebasque's primary concerns were with simple expression of sensuous surface... He achieved an intimate manner of painting those scenes and people most dear to him, which was replete with his personal delight in form and color, heightened by his contact with fellow painters Matisse and Bonnard, but characteristically his own" (L. Banner, Lebasque, 1865-1937, San Francisco, 1985, p. 20).Lebasque arrived in Paris in 1886, studying under academician Léon Bonnat, receiving a traditional art education. He assisted Ferdinand Humbert with decorative murals at the Panthéon and his early work is characterised by its rather sombre palette. However, he quickly became fascinated with the Impressionist movement and sought to acquaint himself with artists such as Pierre Bonnard, Pierre-Auguste Renoir, Edouard Vuillard and Camille Pissarro. He developed lasting friendships with these painters and his work was undoubtedly influenced by their work, both in subject matter and style. In 1900, Lebasque settled at Lagny,-sur-Marne in the eastern suburbs of Paris. In 1903, alongside Matisse, Bonnard and Vuillard, amongst others, he was one of the founding members of the inaugural Salon d'Automne. The present work, which dates from a couple of years later, and shortly before the artist's first one-man show at the prestigious Galerie Georges Petit in Paris in 1907, reveals the influence of not only those artists, but also Signac and Seurat.Lebasque's handling of the paint is soft and sensuous. The short brush strokes echo his former interest in Pointillism whilst the interplay between the colours and the use of contrast with light and shadow show him moving towards a more gestural, intuitive style. Condition Report: The canvas is not relined. Ultraviolet light reveals light scattered retouching to the edge of the table and to the mother's hand. The paint is very slightly thin in the mirror area, otherwise, the work appears to be in very good original condition.Condition Report Disclaimer

λ SIR ALFRED MUNNINGS (BRITISH 1878-1959) WILLOWS NEAR LANGHAM POOL Oil on canvas laid to board Signed (lower right); inscribed (verso) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Ralph W. McGibbon Sale, Sotheby's, New York, 24 October 1989, lot 366 Sale, Sotheby's London, 21 June 1995, lot 46, titled as 'Willows near Layham [sic] Pool, Essex' Sale, Christie's, London, 15 December 2011, lot 43 Sale, Christie's, Victorian & British Impressionist Art, 12 December 2013, lot 19 Condition Report: Light surface dirt throughout. A horizontal crack approx. 8cm to the lower left quadrant. Possible light discolouration caused by yellowing varnish throughout. A couple of small losses to each of the lower corners. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

British impressionist school (20th century) Seascapewatercolour, 53cm x 74cm.

* Morisot-Pontillon (Edma, 1839-1921). Figure by a River, oil on canvas, signed lower right, 52 x 65 cm (20.5 x 25.5 ins), period gilt carved wooden frame, frame size 58 x 74 cmQTY: (1)NOTE:Edma Morisot was the older sister of the impressionist painter Berthe Morisot, close friend of Edouard Manet, and the only woman to exhibit at the first Impressionist exhibition in 1874, alongside Degas, Renoir, and Monet. Both Edma and Berthe were taught by Camille Corot whose influence can clearly be seen in Edma's Barbizon-style landscapes, as here. When Manet first met the Morisot sisters in 1868, he wrote (perhaps ironically) 'What a shame they are not men'.

John Knox Ferguson,  Scottish fl.1884-1894- Portrait of a young black man wearing an earring; oil on canvas, signed and dated 'J. Knox-Ferguson 1884' (upper right), 50.8 x 39.6 cm. Provenance:  Private Collection, UK. Note:  In the present work, we see a portrait of a young black man with a delicate earring in their left ear, at three quarters pose to the viewer. The rich red garment, worn like a wrap, is adorned with panels of grey bearing white and gold oval shaped shield-like motifs. The inclusion of the motifs and the garment indicate an intention to affiliate the subject with a specific region of Africa or tribe.  Knox Ferguson was born in Edinburgh, but made his career painting in England, in St Ives and mostly in and around Worcestershire, specifically Kidderminster. As such, it is likely that the subject was painted with a model, and is intended to be an imagining of a wealthy African dressed in fine traditional garments in the late 19th century, rather than the subject being a portrait of a specific person of note. Ferguson was active between 1884 and 1894. The Victoria & Albert Museum hold two works, a pencil sketch and print, by Ferguson, both suggestions for the Church of St Mary and All Saints in Kidderminster. However, Ferguson’s masterpiece is considered to be his 1885 painting 'The Last Interview', which sold at Christie’s New York in 2003 for $15,535. Further works have appeared in auctions and for sale online, including several paintings of rural scenes, still lifes and portraits of women. In Kidderminster, Ferguson produced a number of pencil sketches of the town, as well as paintings, for the carpet manufacturer Peter Adam, who seems to be the closest thing to a patron that can be identified. Therefore, it is possible that the painting was made for Peter Adam, or another patron in Kidderminster. Research into African textiles contained in online collections of major museums struggled to find any useful similarities to the sitter's dress. In the first instance, the deep red of the garment suggests it to be made of silk, which would be appropriate given the gold highlighting. Furthermore, Ferguson has captured well the iridescence of the gold, suggesting silk rather than gold cotton or other such material. Silk garments appear rarely in the African collections of major museums, and those that do appear were manufactured outside Africa, for example in India. The traditional textiles of Western Africa, where gold was available and used in traditional arts, are predominantly cotton covered entirely in geometric, repeating patterns. Examples include Kente cloth, from Ghana, and Yoruba cloth, from Nigeria. These traditional garments do not fit with the garment in the painting which looks as if it would have been a solid red central panel and the grey with the shield-motif being in bands at either end.An examination of thousands of items in the collections of the Brooklyn Museum, Metropolitan Museum of Art, Victoria & Albert Museum, Smithsonian, George Washington Museum, British Museum, and National Museum of Liverpool yielded no similar shield motifs to those in the painting. In fact, the grey panels with the motifs are somewhat messy in appearance and not of rigid geometric form that would be expected of a traditional African design. A leading expert in the field of African textiles suggested that the design was almost impressionist, making the garment difficult to evaluate. He further pointed out that in the 19th century many fabrics were designed and manufactured in England for the African market. The form of the motif may have been inspired by the artist’s or manufacturer’s ideas of African art and could be said to be close in form to Zulu shields, which would have been familiar to an English audience around this time. Given the lack of similarity to a specific artistic tradition, the idea that the textile was created in England, or imagined by the painter, supports the hypothesis that the subject is an imagining of traditional dress rather than a specific portrait of a named individual. We may even speculate that the fabric was produced by the carpet maker Peter Adam, Ferguson’s patron in Kidderminster. In light of the research above, the portrait may well have been produced for an English museum or gallery in the manner of global ethnographic portraits that were popular in the 19th century. 

Wynford Dewhurst, RBA,  British 1864-1941- A hilly river landscape in summer, a figure walking with their dog; oil on canvas, signed and dated 'Wynford Dewhurst 1908.' (lower right), 81.5 x 101 cm. Provenance:  Private Collection. Note:  Dewhurst was influential both as an art theorist and as an artist in his own right. Despite studying at the École des Beaux-Arts in Paris under the academic, Neoclassical painter Jean-Léon Gérôme (1824-1904), Dewhurst was most heavily influenced in his approach by the work of the Impressionists, principally Claude Monet (1840-1926), two whom he dedicated his pioneering work 'Impressionist Painting: its genesis and development' of 1904. Dewhurst exhibited widely in Britain and internationally, with solo exhibitions at the Walker Galleries and Fine Art Society, and exhibitions in Paris, Rome, Venice, and Buenos Aires. 

Thomas Buford Meteyard,  American 1865-1928- Portrait de lui-meme travaillant; oil on canvas, inscribed 'Meteyard' in pencil verso, bears stamp for 'Paul Foinet' verso, 41 x 32.7 cm. Provenance:  with The Redfern Gallery, London;  where purchased by Mrs Lees-Milne on 7 December 1954;  thence by descent to the present owners. Note:  Meteyard was a member of a group of artists who are often called the 'Scituate Artist Colony', active from the 1890s to the 1910s. He travelled to Europe in the 1880s, visiting London and Paris, where he studied at the École des Beaux-Arts under Léon Bonnat (1833-1922) and Puvis de Chavannes (1824-1898). Meteyard was clearly heavily influenced by the works of Impressionist painters which he encountered on his travels. Indeed, the present work, like much of his oeuvre, displays a strong debt to Claude Monet (1840-1926), which may well have been informed by his visit to Giverny with his fellow American artists in the summer of 1890. 

German Impressionist School, early-mid 20th century - The Red Tower, indistinctly signed in sgraffito, oil on board, 38 x 24.5cm, further works on paper and pictures, including a portrait, mixed media and sizes (5) Generally good condition

Travel. Nansen (Fridtjof) & Archer (William, translator), Eskimo Life, first English edition, London: Longmans, Green, and Co., 1893, half-title, 16 full-page plates as called, in-text illustrations, 24pp publisher's catalogue bound at rear, original publisher's green cloth, pictorial gilt, slight wear, uncut, 8vo; Kallmorgen (Friedrich), In's Land der Mitternachtssonne: Tagebuch eines Malers, Karlsruhe: Kunstdruckerei Künstlerbund, n.d. [1899], lithograph printed facsimile of the Impressionist artist's sketchbook, contemporary publisher's red cloth gilt, oblong folio (31 x 42.5cm); Naylor (R.A.), Letters on Sweden and Norway, first edition thus, [Warrington]: Printed for Private Circulation Only, [by Bowker Brothers], [June 1887], photographically-illustrated with three portraits by Parkinson of Warrington, original pictorial cloth, all edges gilt, 8vo; Goodman (E.J.) & Lange (Paul, illustrator), New Ground in Norway, first edition, 1896, original publisher's cloth, pictorial gilt, 8vo; etc., (5)

Dutch Impressionist School, early-mid 20th century - Cattle by a Windmill, oil on canvas, 30 x 45cm; Vignaut - South of France, signed, attributed and titled to label verso, oil on canvas, 25 x 34cm; etc (4) Mixed, good condition.

Impressionist School Street scene with tram, fountain and triumphal archoil on canvasindistinctly signed59 x 72cm Oil on original canvas in somewhat neglected condition, canvas is a little saggy with a 8cm scratch running above the fountain, further scuff marks, a dented hole above the signature and a small patched hole in the centre of the tram, paint also very dirty, could do with a good clean, housed in probably the original oak frame which is now rather tatty, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

This captivating oil painting by Palm Beach artist Annette Krauss Rose features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, is known for her vivid and expressive works that often explore themes of wildlife, humanity, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 34"L x 26"HArtist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This captivating oil painting by Annette Krauss Rose showcases a striking composition of vibrant yellow orchids set against a muted blue-gray background. The piece highlights the artist's mastery in botanical art, with a realistic depiction of the orchid's delicate petals and lush green leaves. The interplay of light and shadow brings depth and texture, enhancing the naturalistic appeal of the artwork. The muted background emphasizes the vivid yellows, drawing the viewer's focus to the elegant flowers. Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, is recognized for her exceptional talent in capturing the beauty of nature through her artwork, particularly her floral compositions. This piece exemplifies her meticulous attention to detail and her ability to evoke tranquility and elegance through her choice of color and form. The painting is executed on a board and remains unframed, showcasing slight wear along the edges, consistent with its age. It would make an excellent addition to any collection of floral or nature-themed art. Artist: Annette Krauss Rose (American 20th Century)Dimensions: 34"L x 34"HCountry of Origin: USACondition: Age related wear.

A striking mixed-media artwork by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, featuring an expressive depiction of a rooster. This piece masterfully blends bold black strokes with vibrant accents of yellow and blue, bringing the subject to life with dynamic energy. Signed by the artist in the lower left corner, this artwork reflects Krauss Rose's unique style and her ability to capture the essence of her subjects with dramatic flair. Housed in its original yellow-painted wooden frame with a matted display, this piece is both an artistic and decorative treasure. Signature on lower left. Artwork dimensions with frame: 19.25"L x 34"H x 0.75"W. Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This is an original painting by Annette Krauss Rose, a prominent Palm Beach artist known for her mastery in portraiture and her studies under Tonalist and Impressionist Frank Vincent DuMond in New York City. The piece depicts a striking portrait of a figure adorned in a hat, rendered in a captivating combination of warm tones and soft brushstrokes. The painting is mounted in its original textured frame and measures 28.5”L x 33.5”H. It reflects the artist’s characteristic depth and emotive style, making it a valuable addition to any fine art collection. Frame and canvas exhibit minor wear consistent with age. Artist: Annette Krauss Rose American 20th CenturyDimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

This captivating oil painting by Palm Beach artist Annette Krauss Rose, who studied painting in New York City under Tonalist and Impressionist Frank Vincent DuMont, features a striking composition of tigers juxtaposed with circus clowns and performers in a dynamic setting. The piece skillfully blends bold, naturalistic details with an impressionistic use of color and form, highlighting the distinctive contrast between the fierce presence of the tigers and the whimsical nature of the circus environment. Krauss Rose's artistic approach conveys a sense of storytelling and motion, drawing the viewer into the heart of the scene. Annette Krauss Rose is known for her vivid and expressive works that often explore themes of the circus, clowns, and performance art. Her mastery of oil as a medium is evident in the vibrant palette and textured brushstrokes that bring this piece to life. This artwork serves as both a testament to the artist's talent and a unique addition to any art collection. The painting is presented in a wood frame that complements its vibrant tones. Artwork dimensions with frame: 29"L x 36"H. Artist: Annette Krauss Rose (American 20th Century)Dimensions: See DescriptionCountry of Origin: USACondition: Age related wear.

**Framed Watercolour Painting by Ken Chapman – "Reflections"** A framed original watercolour painting titled "Reflections," attributed to Ken Chapman, as identified by the signature on the artwork and the handwritten label on the reverse. The painting depicts a serene landscape featuring a red-brick building with white-mullioned windows and a white door, partially obscured by lush greenery. A reflective body of water in the foreground mirrors the building and surrounding foliage. Overhanging tree branches add depth to the composition. The work is mounted within a cream matte board and housed in a wooden frame with a warm-toned finish and metallic inner lining. The painting style is Impressionist-inspired, with delicate brushstrokes emphasising light, shadow, and natural beauty. The handwritten label on the back reads: **"Ken Chapman"**, **"Reflections"**, **"Original Watercolour"**, and **"The Mill at Middle Wallop"**, suggesting the scene is based on a specific UK location. The painting's likely creation date ranges from the late 20th century to early 21st century, with dimensions approximately medium-sized (exact measurements unverified). Complete with hanging hardware, this artwork is ready for display.

Framed Abstract Painting by S. SullyA framed abstract painting signed "S. Sully" in red in the lower-left corner. The artwork, in bold hues of red, green, black, and white, depicts an abstract, seated human figure with accentuated, emotive brushstrokes. The medium appears to be acrylic or oil on paper, surrounded by a white mat board within a natural wooden frame, finished with glass protection. The frame is approximately 73cm x 58cm, with the artwork slightly smaller due to matting. The reverse side features a label from Oxford Framing Services, located at 38 Cowley Road, Oxford, OX4 1HZ, along with the handwritten title, "THINKING MAN I". Likely created in the mid-to-late 20th century, the dynamic style reflects impressionist and expressionist tendencies.