We found 810 price guide item(s) matching your search

French School, c.1900 Portrait of a lady in a hat, with paint brushes in a vase beside her, signed 'Manet', oil on canvas, 41 x 28cm, framedCondition ReportRelined. Missing small patch in the centre. PLease see additional images.

Jean Marchand, French 1883–1941 - Landscape study; oil on board, signed lower left 'J. Marchand', 14.3 x 19.2 cmNote: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the woodland landscape. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery. 

Jean Marchand, French 1883–1941 - Landscape study; oil on canvas laid down on board, signed and indistinctly dedicated lower right 'J. Marchand', 23.8 x 28.3 cm (unframed) Note: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the woodland landscape. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery. 

Manet, Édouard (1832 Paris 1883), nach "Berthe Morisot". Radierung (Papier l. vergilbt). 27,5x 22,5 cm.

Berthe Morisot (French 1841-1895): Young Girl with a Cat, after a portrait of Julie Manet by Renoir, drypoint etching, labelled verso 13cm x 11cm

A QUANTITY OF PICTURES AND PRINTS ETC, to include three Dave Barnes charcoal sketches for a proposed Holocaust sculpture, approximate sizes 58cm x 32cm, two watercolour landscapes by J Benbow - some discolouration, a watercolour depicting the Notre Dame Cathedral in Rodez, signed and dated A.A. Simco 1892, an indistinctly signed Italian river and city watercolour scene, approximate size 6cm x 14cm, miniature watercolours of birds and flowers by David Andrews and Kay Gray, miniature watercolour and feather picture of an Eagle owl by Janet Grant, two Willian Russell Flint open edition prints 'The Francis and Jane at Birdham' and 'The Unexplored City' together with a reproduction letter regarding 'The Marchesa's Boathouse', five prints depicting mounted Cavalry officers, a reproduction Samuel Abbott golf print 'To the Society of Coffers at Blackheath' and an Edouard Manet print 'Boy with soap bubbles'

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

Adam Aaronson - A contemporary studio glass vase of hexagonal form with brown core with white trail and spots design, for the Royal Academy of Arts after Tulip and Roses in a vase by Edouard Manet, engraved signature to base and dated 1992, height 15cm.

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.

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.

Circle of Edouard Manet, French 1832-1883- Portrait of a young boy;oil on panel, 25 x 21 cm. Held in a late 18th-century or early 19th-century Louis XIV-style carved and gilded frame. Provenance: Private Collection, UK. Note: The model in this energetically painted 'ad vivum' oil sketch appears to be similar to portraits of Manet’s 10-year-old stepson, Léon Koëlla Leenhoff (1852-1927). Manet made a number of paintings and etchings in which his stepson appears as the model, for example, 'Spanish Cavaliers', 1859-60 [Musée d’Orsay, Paris no.L.2024.2]. In the present work, the young boy looks up at the artist, keenly aware of being observed. The fine striping of the cream smock enlivens a dazzling painting surface, with a heavy touch of the brush, in contrast to the thinly applied paint in the shadows.

* 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'.

PIERRE-AUGUSTE RENOIR (ZUGESCHRIEBEN)1841 Limoges - 1919 Cagnes-sur-MerAUTOGRAPH Tinte auf kariertem Papier. 22,5 x 18 cm. Gebräunt, leicht Randbesch., Vertikalknick. "Mon cher ami,j'ai été tous ces temps derniers très brouillé. De nombreuses lettres à écrire, ce que je n'aime pas. Mon frère qui revient de Russie, etc. Bref, j'ai oublié de t'écrire sur la vente Manet, qui a marché au-delà de toutes les espérances, car il n'y avait rien. Ces deux salles, du fond que tu connais pleines non seulement d'esquisses, mais de deux traits de pastel. Les quelques toiles importantes ne suffisaient pas à faire oublier cet ensemble qui faisait hurler avec quelque raison. Heureusement qu'il y a eu emballage d'amis qui ont mis la chose en train. Jusqu'à Chabrier, qui ne dépasse jamais les 20 francs, et qui en a dépensé 5.000 pour le Bar. De plus, deux autres toiles en pastels, et le portrait de M..., le poète anglais, 1.800 francs. Bref, 7.300 ( ?) francs le premier jour. Si l'on avait vendu tout ce même jour, tout serait parti à des prix très élevés. Mais, le lendemain, les mêmes choses qui seraient allés la veille à 1.500 ( ?), on les avait pour deux et trois cents francs.En somme, pour ce qui restait dans l'atelier de Manet, c'est magnifique.La famille a eu la bêtise de racheter l'Argenteuil à 12.500, le père Chocquet a acheté ton portrait en bateau 12 ou 15.000. (...) le tout a fait 115.000. Il reste environ 90.000 francs de net.Je vois d'après tes lettres que tu es content et que, malgré tes tracas, tu vas nous rapporter des choses nouvelles. Nous les attendons avec impatience. Tu as probablement lu les articles au Wolf..., il commence à te faire bloquer, non pas par sa rosserie ( ?), mais parce qu'il est devenu incompréhensible. Tu as dû voir aussi le (...) de Pailleron pour sa réception à l'Académie. Enfin, on s'est fort amusé à Paris en temps derniers.A toiRenoir""Mein lieber Freund,ich war in letzter Zeit sehr beschäftigt. Es gibt viele Briefe zu schreiben, was mir nicht gefällt. Mein Bruder, der aus Russland zurückkommt usw. Kurz gesagt, ich habe vergessen, Dir über den Manet-Verkauf zu schreiben, der alle Erwartungen übertroffen hat, weil es nichts gab. Diese beiden Räume im hinteren Bereich, die Du kennst, sind nicht nur voller Skizzen, sondern auch mit zwei Pastellen. Die wenigen bedeutenden Gemälde reichten nicht aus, um uns dieses Ensemble vergessen zu lassen, das einen nicht ohne Grund zum Schreien brachte. Zum Glück gab es ein paar Freunde, die den Anfang machten. Bis hin zu Chabrier [Anm.: Emmanuel Chabrier, Komponist], der nie die 20 Francs überschreitet und der 5.000 für die 'Bar' [Anm.: hier ist wohl das Gemälde 'Bar aux Folies Bergères' gemeint] ausgegeben hat. Dazu zwei weitere Pastellgemälde und das Porträt von M..., dem englischen Dichter, 1.800 Francs. Kurz gesagt, 7.300 (?) Francs am ersten Tag. Wenn wir alles am selben Tag verkauft hätten, wäre alles zu sehr hohen Preisen verkauft worden. Aber am nächsten Tag bekam man die gleichen Dinge, die am Tag zuvor 1.500 (?) gekostet hätten, für zwei- oder dreihundert Francs.Kurz gesagt, für das, was in Manets Atelier übrig geblieben ist, ist es großartig.Die Familie war dumm genug, Argenteuil für 12.500 zu kaufen, Vater Chocquet [Anm. : Victor Chocquet, 1821-1891, Freund und Sammler der Impressionisten] kaufte Dein Porträt im Boot für 12 oder 15.000. (.) Das Ganze hat 115.000 gebracht. Es verbleiben netto rund 90'000 Francs.Aus Deinen Briefen erkenne ich, dass Du glücklich bist und uns trotz Deiner Sorgen Neues bringen wirst. Wir erwarten es mit Ungeduld. Du hast wahrscheinlich die Artikel in Wolf... gelesen, er fängt an, Dich zu blockieren, nicht wegen seines Blödsinns, sondern weil er unverständlich geworden ist. Du musst auch die (...) von Pailleron [Anm. : Edouard Pailleron, 1834 - 1899, Autor und Journalist] für seinen Empfang an der Akademie gesehen haben. Schlussendlich hat man sich in Paris in letzter Zeit sehr amüsiert.DeinRenoir" Wohl 1883 nach dem Tod Manets an einen unbekannten, wohl aber aus Künstlerkreisen stammenden, Adressaten verfasster Brief bezüglich eines Verkaufs von Werken aus dem Atelier Manets. Bei dem Adressaten könnte es sich um Claude Monet handeln, da im Brief ein Gemälde erwähnt wird, das diesen in einem Boot zeigt (wohl 'Die Barke' von 1874). Auch die im Brief erwähnte und 1882 erfolgte Aufnahme Edouard Paillerons in die Académie Francaise sowie die Erwähnung des Gemäldes 'Bar aux Folies Bergères', das 1882 entstand, bilden einen Rahmen für die Datierung des Briefes.

Stephen Prina (American, b.1954) 'Exquisite Corpse: The Complete Paintings of Manet (129 of 556)’, 1988 ink wash on paper and offset lithograph 46.5 x 36.5cm and 65.5 x 82.5cm (2)Provenance: With Karsten Schubert, London;Richard Salmon Gallery, London. Exhibited: Karsten Schubert, London, 'Stephen Prina: The Complete Paintings of Manet, Recent Work', 3 October - 28 October 1989;Richard Salmon Gallery, London, 'Sequence', 29 August - 20 September 1997.Condition ReportLegend: framed, 75 x 92cm. Stuck down in the corners. Light cockling. On close inspection some extremely faint spots and speckles of discolouration/ foxing are starting to emerge. Not viewed out of glazed frame. Ink and wash: framed, 56 x 46cm. Cockling. Light crease marks to the centre and lower centre. Dirty marks on reverse of framing. Not viewed out of glazed frame.

Édouard Manet, "La chat et fleurs", Radierung von 1869, gerahmtÉdouard Manet, 1832 Paris - 1883 ebd., "La chat et fleurs", Radierung, 17 x 13 cm, in der Platte sign., hinter Glas gerahmt

WEMPE BY KIM Anhänger mit Kette, "Tempus Fugit Amor Manet". 925 Silber 51,9g. L: ca. 72 cm,D: ca. 4 cm 21. Jh, leichte Tragespuren.| WEMPE BY KIM pendant with necklace"Tempus Fugit Amor Manet". Sterling silver, 51,9g. Length: ca. 72 cm, D: ca 4 cm. 21st century, minor signs of wear.

Wunderlich, Paul1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Provence, Mappe mit drei Original-Lithografien, "Jagdpoesie", "Nach Manet" "Paul gut getroffen", 1983, je signiert und nummeriert 50/1000, auf Rives-Bütten, 60 cm x 48 cm, Wunderlich ist ein deutscher Maler des Neosurrealismus (Versandhinweise beachten)

Wunderlich, Paul1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Provence, Mappe mit drei Original-Lithografien, "Jagdpoesie", "Nach Manet" "Paul gut getroffen", 1983, je signiert und nummeriert 50/1000, auf Rives-Bütten, 60 cm x 48 cm, Wunderlich ist ein deutscher Maler des Neosurrealismus (Versandhinweise beachten)

Édouard Manet, French 1832-1883,Les Petits cavaliers, after the painting attributed to Velazquez, c.1860;monochrome etching on Velin paper, indistinctly inscribed with signature in the lower margin, and inscribed 'Ed Manet' in pencil on the reverse, sheet: 29.5 x 46.5 cm, (framed) Note: Ref. Guerin 8, Harris, 5

Bazire,E.: Manet. Ilustrations d'après les origineaux et gravures de Guérard. Paris, A. Quantin 1884. 25,5 x 17 cm. ╔Mit 2 Orig.-Radierungen von E. Manet╗ und 9 Tafeln in Heliogravüren nach Manet von Guérard. Lederimitation auf Leinenbasis. (Orig.-Broschur eingebunden). Vicaire I, 354. - Erste Monographie über Manet (1832-1883), die Bazire kurz nach dessen Tod veröffentlichte, und eine der wichtigsten biographischen Primärquellen besonders zu den letzten Lebensjahren des Künstlers. Erste Ausgabe. - Enthält die beiden Orig.-Radierungen Odalisque (Guérin 64, Harris 56) und La Convalescente (Guérin 65/3, Harris 85/3). Beide in diesem Werk erstmals veröffentlicht. - Zudem Widmungsexemplar des Autors. - Tls. unaufgeschnitten. Orig.-Umschlag leicht schmutzfl., vord. Innengelenk etw. angebrochen, erste Tafel verso gestempelt. - First edition of the first monograph on Manet. With a dedication by the author. With 2 orig. etchings by E. Manet and 9 plates in heliogravures after Manet by Guérard. Later cloth, orig. wrappers bound in. - Partly unopened, orig. wrappers slightly stained, front inner joint torn, first plate stamped verso.

JEAN HIPPOLYTE MARCHAND (FRENCH 1883-1940) PAYSAGE DE PARIS Signed lower right, inscribed with artist's name and title to stretcher verso, oil on canvas 53cm x 45cm (21in x 17.75in) From the Estate of Dorothy Bohm Parisian suburban life is evoked in this verdant oil by Jean Hippolyte Marchand. A walker, an agricultural worker and a figure on horseback are painted with post-Impressionist brevity, their white headdresses suggesting we may be glimpsing the cloistered world of a religious order. The trees’ spindly boughs appear to bend in the breeze, their canopies ripening to an autumnal gold. Marchand imbibed the tonal vivacity and stylised naivete of French modernism. Often described as a cubist, it was in fact only his early work that explicitly channelled cubism’s crystalline delineation, and from the mid-1910s his forms assumed a gentler organic quality while retaining an avant-garde sensibility. Marchand attained the distinction of inclusion in Roger Fry’s 1910 Manet and Post Impressionism exhibition at London’s Grafton Galleries. He became acquainted with Clive Bell and henceforth folded into the Bloomsbury circle. A number of his works were acquired by the important collector Samuel Courtauld. Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. 

JEAN HIPPOLYTE MARCHAND (FRENCH 1883-1940) STILL LIFE OF POPPIES IN A VASE Signed lower left, oil on canvas 60cm x 49cm (23.75in x 19.25in) From the Estate of Dorothy Bohm Marchand imbibed the tonal vivacity and stylised naivete of French modernism. Often described as a cubist, it was in fact only his early work that explicitly channelled cubism’s crystalline delineation, and from the mid-1910s his forms assumed a gentler organic quality while retaining an avant-garde sensibility. Marchand attained the distinction of inclusion in Roger Fry’s 1910 Manet and Post Impressionism exhibition at London’s Grafton Galleries. He became acquainted with Clive Bell and henceforth folded into the Bloomsbury circle. A number of his works were acquired by the important collector Samuel Courtauld. Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. 

EDOUARD MANET (1832-1883) 'Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face)' after a photograph by Nadar, 1868, etching on thin laid paper, with printed inscription to lower margin of the image "Peint et Gravé par Manet 1865" and "Imp. A. Salmon", plate size 9.5cm x 8.2cmProvenance: The collection of the late John Hubbard (1931-2017) and Caryl Hubbard CBE (1933-2021), Chilcombe House, Dorset.

A group of history of art books, to include mostly impressionism artists Julie Manet, Claude Monet and Germain Bazin ect, approx, 12.

15 Kunstbände *Malerei* dabei *Die Schwäbische Malerei um 1900* Thomas Maier u. Bernd Müllerschön, Stuttgart 2000, *RENOIR* Sophie Monneret, DuMont Buchverlag Köln 1990, *WATTEAU 1684 bis 1721*, Hans-Peter Bühler *Anton Braith, Christian Mali* Tiermalerei der Münchner Schule, 1981, *Münchner Maler im 19. Jhd.* Bruckmanns Lexikon der Münchner Kunst, Band 1, 2 und 4, *Antoine Watteau* Donald Posner, 1984, *Velázquez* Josè López-Rey, Werkverzeichnis, Band 1, Maler der Maler, 1999, *Münchner Malerei im 19. Jhd.* Horst Ludwig, Hirmer Verlag München 1978, Broschur teils eingerissen, *Die Deutsche Malerei, von Anton Graff bis Hans von Marées 1760-1870* Helmut Börsch-Supan, Verlag C.H.Beck, Deutscher Kunstverlag, 1988, *Edgar Degas 1834-1917* Bernd Growe, Benedict Taschenverlag, 1991, *Otto Pippel 1878-1960* Hermann Reiner, Babenhausen, 1980, *Die Holländische Marinemalerei des 17. Jhds.* Laurens J. Bol, Klinkhardt und Biermann, Braunschweig, 1973, *Manet* Francoise Cachin, DuMont Buchverlag Köln, alle größtenteils in gutem Zustand, wenig Gebrauchsspuren, diverse Einbände, dabei Taschenbuch, Hardcover, Orig.Leinen, z.T. mit Broschur, alle mit zahlr. teils farbigen Abb., 15 Stk.

After David Hockney (British 1937-): 'Serenade, exhibition poster for the V&A 'From Manet to Hockney', pub. 1985, 74cm x 49cm

Edouard Manet (French 1832-1883), 'Le Chat aux Fleurs, 1869' (cat with flowers), signed within the plate, 19.5x15cm

Edouard Manet (French 1832-1883) Le Gamin, 1862, signed in the plate, etching, 20.5 x 14.5 cm (PL), frame 56 x 48 cm Provenance: Collection of Mr Magdi Obeid, purchased from Black Ink Master Prints 2004

An original lithograph on paper entitled Portraits de Manet after French Impressionist artist Edgar Degas. Pulled from the limited edition portfolio Degas, Volume I by Paul Lafond published in 1918 by H. Floury, Paris. Artists name in plate on lower right: Degas. Edition number in graphite on lower left: X/LX. Includes protective sheet with title of work and Collection de M. Ernest Rouart. Artist: After Edgar Degas (French, 1832-1883)Issued: 1918Dimensions: 7.75"L x 10"HCondition: Age related wear. Time stained.

Antique engraving on paper entitled La Chanteuse des reus after French modernist painter Edouard Manets original painting. Engraved by T. Beltrand. Artists signature in plate on lower left side: Manet. Engravers name printed on lower right side: T. Beltrand. Includes protective cover sheet. Artist: After Edouard Manet (French, 1832-1883)Dimensions: 7.75"L x 10"HCondition: Age related wear.

After Laurence Stephen Lowry (British 1887-1976) colour print 'Industrial Scene' within a green painted frame 76cm x 99cm overall, sold together with a coloured print after Edouard Manet 'the Rue Mosnier with Pavers' 56cm x 69cm overall.

BERTHE MORISOT1841 - 1895'JEUNE FILLE ENTENDUE (PORTRAIT OF JULIE MANET)' Radierung auf Papier. DM 8,5 x 12 cm, SM 18,5 x 23,5 cm (R. 30 x 35 cm). Unsigniert. Verso: Leicht gebräunt, insb. am Passepartoutrand, part. mit hellen Flecken. Im Passepartout und hinter Glas gerahmt (ungeöffnet). Expertise: Privatsammlung Ruhrgebiet. Provenienz: 2,5 cm.

Johan-Barthold Jongkind, 1819 Lattrop – 1891 Saint-Egrève bei GrenobleMONDLICHT ÜBER DEM KANAL IN DORDRECHTÖl auf Leinwand.33 x 47 cm.Links unten signiert und datiert.In breitem ornamental reliefiertem und vergoldetem Rahmen.Von Mondlicht erhellte Kanalszene, deren Wellenspiel das Mondlicht wiederspiegelt. Auf dem Kanal ein Segelboot dessen abgetakelten Masten sich vor dem Nachhimmel dezent abzeichnen. Einen Großteil seines Lebens verbrachte Jongkind in Frankreich. Er reiste regelmäßig in die Niederlande wo er sich in der Gegend um Rotterdam inspirieren ließ. Sein lockerer Pinselstrich verleiht seinen Gemälden die Direktheit der Werke der Impressionisten, wenngleich er die Gemälde in seinem Atelier und nicht plein air malte. Manet nannte ihn den Vater der modernen Landschaftsmaler.Provenienz: Sotheby‘s, London, 27. Februar 1957, lot 86.Philips, London, 29. Juni 1987, lot 101.Sotheby's, New York, 12. Februar 1997, lot 31.Literatur:Adolphe Stein, Sylvie Brame, François Lorenceau & Janine Sinizergues, Jongkind. Catalogue critique de l‘oeuvre. Peintures, Bd. I, 2003, S. 237, Nr. 593. Ausstellungen:Marlborough Fine Art, London, XIXth and XXth Century French Masters, 19050, Nr. 22.Terry Engel Gallery, London, Paysages de France, 1963, Nr. 27.(1421286) (13) (†)Johan Barthold Jongkind,1819 Lattrop – 1891 Saint-Egrève near GrenobleMOONLIGHT OVER THE DORDRECHT CANAL Oil on canvas.33 x 47 cm.Signed and dated lower left.Provenance: Sotheby’s, London, 27 February 1957, lot 86.Philips, London, 29 June 1987, lot 101.Sotheby’s, New York, 12 February 1997, lot 31.Literature:Adolphe Stein, Sylvie Brame, François Lorenceau and Janine Sinizergues (eds.), Jongkind. Catalogue critique de l’oeuvre, vol. I, Peintures, Paris 2003, p. 237, no. 593.Exhibitions:Marlborough Fine Art, London, XIXth and XXth Century French Masters, 1950, no. 22.Terry Engel Gallery, London, Paysages de France, 1963, no. 27.

Monet, Claude,: französischer Maler des Impressionismus (1840-1926). Handschr. Brief an ihn vom "Ministère de l'Instruction Publique et des BeauxArts", dat. Paris, 18. November 1893. 4°. 2 Bl., 1 S. beschrieb. Gefalt. Benachrichtigt den Künstler, daß das Dekret über die Annahme des Gemäldes "Olympia" von Eduard Manet als Schenkung an den französ. Staat durch eine Gruppe von Spendern durch einen notariellen Akt am 26. August beschlossen wurde. Mit der Unterschrift des Direktors für die Schönen Künste. - Tls. ger. Randrissig u. fleckig. D

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. Exceptional hardcover 4.5 x 6.5 ledger book, 116 pages, containing 14 pages filled out in Renoir´s hand, recording the sales of his paintings, listing those in deposit, where they are, etc.. Written to the front cover `Tableaux´ ("Paintings"). The opening page bears a red pencil annotation, `Durand Ruel´, and the next 14 pages are dated from 1882 to 1885, recording various financial transactions. Several of these entries record amounts received from the sales of his works, and in several instances he writes names or descriptions of the works, such as "Portrait de Mme. C dans un jardin", "Femme nue", "Jeune Kabyle", "Vues Venise", "Saltimbanque", "Naples et Alger", "jardin coquelicot", "Jardin Montmartre", "Samary (Pastel)", and many more. Few other pages with multiple payments records, painting prices, financial transactions, amounts received on account, dates, etc.. In two instances, in 1883, Renoir writes the name `Manet´ presumably referring to his friend and fellow Edouard Manet. These entries provide valuable insight into Renoir's life and work, and as such this ledger represents an important piece for Renoir research. Very small minor age wear, otherwise VG Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A small 8vo printed exhibition catalogue for Pablo Picasso 1950-1953 at the Curt Valentin Gallery in New York, 24th November - 19th December 1953, the exhibition comprising sixty-five oil paintings, sculptures, ceramics, lithographs and aquatints by Picasso, a number of them illustrated in monchrome within the catalogue, which also features a brief passage of text by Stephane Mallarme (on Manet, 1874) and an essay entitled Picasso Good Master of Liberty by Paul Eluard (translated from the French by Roland Penrose). Across the recto of the front free endpaper and title page Picasso has drawn a wonderful image of a colourful fish, executed in orange, green, blue, yellow and black crayons and signed (´Picasso´) by the artist in blue crayon to the base of the title page, also adding the date, 2nd March 1954, in his hand alongside his signature. Bound in the original yellow and black printed paper wrappers. A superb and highly attractive original drawing signed by Picasso. Some very light, extremely minor age wear, VGPicasso´s drawing of the fish is very reminiscent of a ceramic design he created in 1951 entitled Poisson de profil (´Fish in Profile´).

[MONET CLAUDE]: (1840-1926) French Impressionist Painter. A very interesting content letter sent to Monet by Gustave Larroumet (1852-1903) French art Historian, literary Critic, and Administrator. A.L.S., `Gustave Larroumet´, two pages, 4to, Paris, 21st April 1890, to `Monsieur Claude Monet, artiste - peintre, à Giverny, par Vernon (Eure)´, in French. On the printed stationery of the French Republic - Ministry of Beaux-Arts, Larroumet in his capacity as Director of Fine Arts, responds to Monet´s letter regarding Manet´s work L´Olympia, stating in part `En réponse à la lettre que je vous adressais le 1er Avril, vous me faites savoir, à la date du 5, que "vous prenez bonne note de la promesse que je vous fais de conserver toujours à Paris, et sous les yeux du public l´Olympia d´Edouard Manet"; vous ajoutez qu´il doit être "bien entendu qu´en aucun cas l´Olympia ne sera envoyée en province"; enfin vous espérez que M. le Ministre "voudra bien confirmer l´assurance" que je vous aurais donnée...´ (Translation: "In response to the letter I sent you on April 1st, you let me know, on the 5th, that "you take good note of the promise I make to you to always keep in Paris, and exhibited to the public's eyes, the Olympia by Edouard Manet"; you add that it must be "of course understood that in no case will the Olympia be sent to the provinces"; finally you hope that Mr. Minister "will be kind enough to confirm the assurance" that I have given you...") Further, Larroumet explains the situation and wishes that Monet understands that there is no guarantee yet, saying `Je me suis borné à vous dire que l´Administration "vu l´intérêt de l´oeuvre et les intentions des donateurs s´efforcerait de la conserver toujours à Paris, et sous les yeux du public". Il ne s´agit donc là que d´une intention bienveillante, mais non d´une promesse ni d´une assurance...´ (Translation: "I have limited myself to telling you that the Administration "given the interest of the work and the intentions of the donors would endeavour to keep it always in Paris, and before the eyes of the public". This is therefore only a benevolent intention, but not a promise nor a grant...") Further again, Larroumet states that he will forward Monet´s requests to the Minister. The painting will be bought that same year by the French government. With blank integral leaf. VG Edouard Manet (1832-1883) French Painter. A Modernist regarded as a main figure in the transition from Realism to Impressionism. Olympia (1863) is one of Manet´s early wasterworks, being an oil painting depicting Olympia, a nude white woman lying on a bed being attended by a black maid. The painting caused shock and controversy when it was first exhibited at the 1865 Paris Salon, especially because a number of details identified her as a prostitute. The French government acquired the painting in 1890, shortly after the present letter was written, after a public subscription organized by Monet. The painting is at today´s date in the Musée d´Orsay in Paris. As Monet wanted.

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

Four 20th century posters. Comprising one for The State Heritage Museum 'Hidden Treasures Revealed', 1996, 81.5cm x 56.5cm, Acquarelles De Venise 'Saverio de Bello', 70cm x 47cm, a hand coloured signed poster by K. Burke 'New Orleans City of Jazz', 1979, 55cm x 70cm and The Metropolitan Museum of Art 'Manet', 75cm x 85cm

Graphik & Handzeichnungen -- Ca. elf Blatt Druckgraphik11 Radierungen auf verschiedenen Papieren. Um 1900.Bis 48 x 64 cm (Blattgröße).Impressionistische Arbeiten von und nach Pierre Bonnard, Paul Cézanne, Paul Gauguin/Armand Seguin, Edouard Manet, Jean-François Millet, Camille Pissaro, Claude Renoir und Auguste Rodin. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Jean-Paul Sartre Nourritures suivi d'extraits de la Nausée. Paris, J. Damase 1949. Erste Ausgabe und das erste von Jacques Damase publizierte Buch. Mit 3 Orig.-Radierungen von Wols. 1 von 424 numerierten Exemplaren. - Der Sartre-Text entstand bereits 1935 in Neapel. Exemplar mit den drei Kaltnadelradierungen von Wols Die Stadt - Quer , Grosse Tache I und Aktblüte . Breitrandiger Pressendruck auf unbeschnittenem, chamoisfarb. 'Johannot'-Papier, die drei Graphiken liegen lose ein. Vermutlich wurde die geplante Gesamtauflage von 450 Exemplaren nicht realisiert und bedeutend weniger Exemplare gedruckt, was die Seltenheit der Publikation erklären würde. - 'From 1948, Wols illustrated a number of books of existentialist writers, including those of his friend Sartre. Michel Tapié characterised Wols as a 'catalyst of lyrical non-figuration, explosive, anti-geometric, informal'.' (From Manet to Hockney 118). EINBAND: Orig.-Broschur. 19,5 : 15 cm. - ILLUSTRATION: Mit 3 Orig.-Radierungen von Wols. - PROVENIENZ: Privatsammlung Hessen. LITERATUR: Busch 1, 32 und 33. - Grohmann I, XXXII und XXXIII. - Monod 10170. - Weber (Kat. Kassel 1985) Nr. 7, 43 und 45. - From Manet to Hockney 119. - Maler machen Bücher 96. - Arnold 2538. - Bibl. Matarasso II, 290 (1994, versteigert für 28.000. - Francs). First edition. 1 of 424 numbered copies, printed on strong paper. With 3 orig. etchings by Wols. Orig. wrappers. - Slightly browned. Spine with small tear. - Fine and mainly uncut copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000716 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000716 This lot can be purchased subject to differential or regular taxation.

Walasse Ting One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. Großartiges Malerbuch der 60er Jahre, eine der schönsten Publikationen der Pop-Art und des abstraktem Expressionismus. 'Die Bibel der amerikanischen Pop-Art' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. Unter anderem im Stil des abstrakten Expressionismus, Tachismus und der Pop-Art verbinden sich hier Text und Illustration auf einfallsreiche Art. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in gelbem Orig.-Leinenschuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Privatsammlung München. LITERATUR: Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Das Buch des Künstlers 14. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s, a great publication of Pop art and Abstract expressionsim. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, slipcase in Green. - With some minim. creases in the margins, only few ll. somewhat browned. Dust jacket with little marginal fraying, slipcase slightly soiled. Overall good copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=124000950 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=124000950 This lot can be purchased subject to differential or regular taxation.

Jean-Paul Sartre Visages. Précédé de portraits officiels. Paris, P. Seghers 1948. Mit 4 Orig.-Radierungen von Wols. Erste Ausgabe. - 1 von 900 numerierten Exemplaren auf kräftigem Marais-Bütten. - Breitrandiger Druck in Rotbraun und Schwarz, Druck der Graphiken im Atelier R. Haazen. 'Das kleine Buch ist ein schönes Beispiel für eine tieflotende Einheit von Text und Bild, für die vollkommene Gleichzeitigkeit im Denken bei Dichter und Künstler, die lange Jahre befreundet waren.' (Lucius). EINBAND: Orig.-Broschur. 19,5 : 13 cm. - ILLUSTRATION: Mit 4 Orig.-Radierungen von Wols. - PROVENIENZ: Privatsammlung Hessen. LITERATUR: Busch 46-49. - Grohmann XLVI-XLIX. - Monod 10172. - Weber (Kat. Kassel 1985) 58. - From Manet to Hockney 118. - Französ. Maler illustrieren Bücher. Kat. Stuttgart 1965, Nr. 192. - Lucius, Bücherlust 36. Dabei: Borne, Alain, Brefs. Mit 1 Tafel mit Illustration von Wols. Lyon, Cahier de Poèsie des Confluences 1942. Orig.-Broschur. 19,5 : 14,5 cm. - Monod 1709. - Erste Ausgabe und das erste von Wols illustrierte Buch. First edition. With 4 orig. etchings by Wols. Orig. wrapper. 19.5 : 13 cm. - Fine copy. - 1 addition. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=559&obnr=424000713 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=559&obnr=424000713 This lot can be purchased subject to differential or regular taxation.

Manet - Théodore Duret. Histoire d’Édouard Manet et de son œuvre. Avec un catalogue des peintures et des pastels. Paris, H. Floury 1902. Mit zwei Radierungen, einem Holzschnitt sowie 20 Tafeln und zahlreichen Textabbildungen, einige davon farbig. Halblederband mit eingebundenem farbig illustriertem Originalumschlag.Erste Ausgabe. - Eins von 600 Exemplaren (Gesamtauflage 650). - Noch heute wichtiges Verzeichnis der Gemälde und Pastelle des impressionistischen Malers. - Mit den beiden Radierungen »Le gamin au chien« (im Inhaltsverzeichnis ungenau) und »L’Olympia« sowie dem Holzschnitt »L’Olympia«. - Die zwanzig teils farbigen Tafeln mit Reproduktionen von Gemälden und Pastellen sowie einigen Porträts. - Sehr schönes Exemplar.26,5 : 20,5 cm. [6], 301 [5] Seiten, 3 Graphiken, 20 Tafeln und zahlreichen Textabbildungen.

40 Original Athena posters - Various themes, all printed on paper stock, flat, various sizes, mainly 35 x 23.5 inches. Running Horse, 1984, artworks by Jan Huston at Michael Woodward Associates, printed on paper stock, flat, 35 x 23.5 inches; Sunday Supper, 1982 Tony Stone Photo Library, printed on paper stock, flat, 35 x 23.5 inches; The Team, 1982 - Photography by Tony Stone Associates, printed on paper stock, flat, 35 x 23.5 inches; Dream Horses, 1975 - W&S Fotographi, printed on paper stock, flat, 35 x 23.5 inches; The Boss, 1982, printed on paper stock, flat, 35 x 23.5 inches; Uncle Albert, 1982, Boisgibault, 1981, Sancere from Les Nues, 1981, artworks by Ha Van Vuong; La Grande Rue, 1980, Galerie De La Presidence, 1979, artworks by M. De Gallard; Woodland Water, 1979, Frosty Stile, 1981, Meadowlands, 1981, artworks by Colin Paynton; Morning Calm, 1978, artwork by E J Spencer; Thai Fisherman, 1979, Man Of La Mancha, 1980, artworks by Frank Paynton; Blue Model (aka Blue Nude), artwork by Pablo Picasso; The Luncheon Of The Boating Party, Path Climbing Through Long Grass, 1874, artworks by Pierre Auguste Renoir; Hunters In The Snow, artwork by Pieter Brueghel; Peach Tree, artwork by Vincent Van Gogh.Les Grandes Baigneuses, - artwork by Auguste Renoir; Road With Cypress And Star, 1890, artwok by Vincent Van Gogh; Lithograph Originales, - artwork by Georges De Feure; Expectation, - artwork by Gustav Klimt; Evening Tide, 1979, - artwork by James Spencer; The Butterfly Ferry, The Nightingale, - artworks by Ida Outhwaite; Mona Lisa, - artwork by Leonardo Da Vinci; A Bar At The Folies-Bergere, - artwork by Edouard Manet; Metamorphosis Of Narcissus, - artwork by Salvador Dali; Hylas And The Nymphs, Echo And Narcissus, - artworks by John Waterhouse; Carnival Evening, 1866, - artwork by Henri Rousseau; Ville De Avray, Jean Corot; Jane Avril, - artwork by Toulouse-Lautrec; Dawn Anchorage, 1980, - artwork by Jim Spencer; Cheetahs, 1984, Prowling Tiger, 1984, artworks by Jan Huston at Michael Woodward Associates, Wine, 1983, Cocktails, 1983, - artworks by Jim Spencer

Patrick Heron (British, 1920-1999)FRENCH CAFÉ : 1950 signed and dated 'Patrick/Heron/50' (lower right) and further signed 'Patrick Heron' (verso)oil on canvas91.5 x 46 cm. (36 x 18 in.)Footnotes:ProvenanceThe Artist, 1955, from whom acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, The Redfern Gallery, Patrick Heron: Paintings, October-November 1951, cat.no.11 (as FRENCH CAFÉ)Mâcon, Musée Municipal, Artistes Anglais Contemporains, organised by the British Council, May-June 1952, cat.no.11 (as CAFÉ)Stockholm, Bildande Konst, Tio Engelska Målare / 10 English Painters, organised by the British Council, 1 March 1953-28 February 1954, cat.no.18 (as KAFÉ); this exhibition travelled to Gothenberg, Konstmuseum, Konsthallen, Malmö, Halmstadt, Örebro, Norrköping, Eskilstuna, Västerås, Karlstad, Uppsala, Gävle, Borås, February 1953-February 1954London, Leicester Galleries, Twenty-Second Annual Exhibition of Paintings, Drawings and Sculpture by Artists of Fame and Promise: Part One, July-August 1954, cat.no.119'Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakably his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called 'the reality of the eye'(Marc Lopatin, The Independent, 21 March 1999)To the British public at the time, Heron's works of the 1940s and 50s were revolutionary, drawing upon developments on the Continent, in particular the work of Matisse, Bonnard and Braque, of which the home audience was largely unaware. Yet Heron, at the forefront within his artistic peers, had long been absorbing and championing their innovative methods, in particular the radical deployment of colour, line and form.In 1943 he had seen Matisse's The Red Studio at the Redfern Gallery, pronouncing it as 'by far and away the most influential single painting in my entire career' (quoted in Mel Gooding, Patrick Heron, Phaidon, London, 1994, p.56). Such works went beyond a simple recording of the visual appearance of things, what Heron called 'the camera eye', and expressed a sensuality and rhythm to which he was deeply predisposed. Only through the abstract harmony of colour and form did Heron believe that the 'profoundest human thought and feeling [could] find direct expression' (Patrick Heron, 1955, ibid, p.56). To this end, Braque's magisterial Atelier interiors which Heron encountered first-hand on a visit to the artist's studio in 1949 also provided rich inspiration, in particular the idea of the 'transparency' of objects through continuous and overlapping lines. Although in this period Heron is referred to as a figurative painter, before the development of his wholly non-figurative works from 1956 (see lot 59), Heron nevertheless recalls how these paintings felt 'terribly abstract.' It was against this backdrop that still life consumed Heron between 1945 and 1955, elevating the long admired Cubist motifs of pipes, glasses, pots and guitars into his own unique language of windows, jugs and table tops, complete with lively lines, flattened planes and blocks of colour. Like Braque, he delighted in animating the inanimate and the result, as in the present work dating from 1950, is a joyful pictorial harmony full of recessional illusion and surface pattern. Indeed Mel Gooding describes this as the development of Heron's work into 'a decisively personal manner in which the primary influences on his approach to figurative presentation were integrated into a style indisputably and unmistakeably his own' (ibid, p.66). FRENCH CAFÉ : 1950 is just such a painting. Here, certain elements are easily deciphered – a coffee cup and saucer, a gas stove (Heron once claimed Picasso had 'made the gas stove into a sacred object' (ibid., p.53)), a gridwork of flagstones and an outstretched awning – but these forms are blended with an abstract energy that holds the composition in tension and results in a canvas charged with life. The fluid interplay of interior and exterior space with colour and line engages the viewer, thrusting us headlong into the bustling café culture that was, and still is, so intrinsically linked to a French way of life. By the time Heron took a seat at the table, both figuratively and literally, he was following in the footsteps of some of the greatest artists and thinkers of the 19th and 20th Centuries. Baudelaire (who first coined the term 'flâneur'), Manet, Hemingway and Picasso, among others, had all recognised the power of the humble café as a vantage point from which to observe, record and most importantly, enjoy life.Fresh to the market, the present work has remained in the same family collection since it was acquired directly from the Artist and exhibited at the Redfern Gallery in 1950 alongside the Tate masterpiece of the same year (HARBOUR WINDOW WITH TWO FIGURES : ST IVES : JULY 1950), FRENCH CAFÉ : 1950 is an important example from a seminal period in the Artist's oeuvre, bearing all the hallmarks of his journey from representation to abstraction.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, London W1S 1SR or email britart@bonhams.com.We are grateful to Andrew Wilson for his assistance in cataloguing this lot.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

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

Edouard Manet, 1832 - 1883, lithographic print of Berthe Morisot with blind stamp. 28cm x 23cm

Karl Hagemeister1848 Werder/Havel - 1933 Werder/Havel - "Märkische Seenlandschaft (Blick über den Schwielowsee nach Geltow)" (um 1894) - Pastellkreiden/Lwd. 60 x 90 cm. Sign. r. u.: K Hagemeister. Unter Glas gerahmt. - Die vorliegende Arbeit ist im Karl Hagemeister Archiv und Werkverzeichnis der Pastelle registriert. Die Authentizität des Werkes wurde durch Frau Dr. Hendrikje Warmt bestätigt. Karl Hagemeister zählt zu den herausragenden deutschen Künstlern des 19. und frühen 20. Jahrhunderts. 1871 begann Karl Hagemeister seine künstlerische Ausbildung bei Ferdinand Preller d. Ä. in Weimar und ging daraufhin auf Reisen. Seit 1878 nahm er an den Berliner Akademie-Ausstellungen teil. Er war mit Max Liebermann Mitbegründer der "Berliner Secession" und Mitglied der Akademie der Künste in Berlin. Der Impressionismus und das Schaffen von Édouard Manet prägten ihn in Paris und trugen zur Aufhellung seiner Palette bei. Hagemeister trug Wesentliches zur modernen Landschaftsmalerei in Deutschland bei.Impressionismus

Umfangreiches Lettré-Besteck im KofferSilber. 149 Teile. Bestehend aus 24 Tafelmessern und -gabeln, 23 Tafellöffeln, 24 Vorspeiselöffeln und -gabeln, 19 Vorspeisemessern, 22 Fischgabeln, 24 Fischmessern, 22 Teelöffeln, zwei großen Suppenkellen, sechs Saucenkellen, je zwei Tranchiermessern und -gabeln und 23 weiteren Vorlegeteilen. Die Löffel und Gabeln mit geraden, konischen Stielen, die Messer mit quaderförmigen Griffen. Alle Griffe auf der Oberseite mit handgraviertem Rautendekor. In einem großen konfektionierten Holzkoffer mit fünf Einlegeböden. Ungemarkt; die Stahlklingen der Messer signiert "LETTRÈ". Der Koffer mit Messingetikett der Firma Max Tietze, Berlin. L der Tafelmesser 24,5; der Gabeln 22 cm, Gewicht ohne Messer und Stahlteile ca. 11.180 g.Berlin, Emil Lettré 1920er Jahre.Das Ehepaar Ludwig und Estella Katzenellenbogen gehörte zu den großen Sammlern und Mäzenen im Berlin der Vorkriegszeit. In ihrer eleganten Stadtwohnung in der Keithstraße 8 und ihrem 1913 erworbenen Rittergut im brandenburgischen Freienhagen umgab sich das Paar mit kostbaren Antiquitäten und einer Sammlung von Gemälden und Zeichnungen der großen deutschen und französischen Impressionisten und Expressionisten, darunter Arbeiten von Paul Cézanne, Vincent van Gogh, Edouard Manet, Camille Pissaro, Max Liebermann und Paul Klee. Für den Festsaal in Freienhagen beauftragte Estella Katzenellenbogen Lovis Corinth mit einem Bilderzyklus von elf Gemälden, der sich heute zum Teil in der Sammlung der Berlinischen Galerie befindet.Die Katzenellenbogens waren regelmäßige Besucher in den eleganten Räumen der Werkstatt Emil Lettrés Unter den Linden 71 und gaben dort für ihre großen Gesellschaften ein repräsentatives Tafelsilber mit zahlreichen Korpusteilen und großen Platten sowie ein umfangreiches Besteck in Auftrag, das, offenbar als Einzelanfertigung, nach ihren Wünschen gearbeitet wurde.Bei der Trennung des Paares in den späten 1920er Jahren wurde die Sammlung unter den Eheleuten aufgeteilt. Estella Katzenellenbogen emigrierte mit ihren drei Kindern 1938 zunächst in die Schweiz und 1940 dann in die Vereinigten Staaten, wo sie sich schließlich in der intellektuellen und künstlerischen Emigrantengemeinde von Los Angeles niederließ. Es gelang ihr, das Lettré-Silber und Teile der Kunstsammlung mit nach Kalifornien zu nehmen. Fünf Gemälde des Corinth-Zyklus, der den Krieg im Depot einer Amsterdamer Galerie überstanden hatte, fanden nach 1945 ebenfalls wieder den Weg zu ihr in die USA.Ab 1942 arbeitete sie dort mit Karl Nierendorf zusammen und leitete dessen International Art Gallery in Hollywood, die sie Ende 1945 übernahm.ProvenienzSammlung Estella und Ludwig Katzenellenbogen.Drittlandsimport: Das Aufgeld beträgt 26% (+ 19% USt.) zzgl. 7% Einfuhrumsatzsteuer (=37,94%) 

Hockney, David - - Cavafy, Constantine P. Fourteen Poems by C.P. Cafafy chosen and illustrated with twelve etchings by David Hockney. Mit 12 Original-Radierungen von David Hockney. London, Editions Alecto Limited, 1966. Unpaginiert, 47,5 x 33,5 cm. Im Impressum mit Bleistift signiert und nummeriert: “David Hockney 317/500”. Jede gebundene Radierung verso mit dem Stempel: Edition B ea 362-373. Darstellung: je 35 x 22,5 cm, auf Vélin: 47 x 33 cm, Gesamtgröße Buch: 47,5 x 33,5 x 3,5 cm. Violettfarbener Original-Seideneinband in schwarzem Original-Leinenschuber (dieser gering fleckig und kratzspurig).Scottish Arts Council, Nr. 47-59 - From Manet to Hockney 137 - Arnold 457 - Das Buch des Künstlers 15. - Eins von 250 (GA 600) nummerierten Exemplaren der Ausgabe B, Druckvermerk von Davd Hockney signiert. Die Radierungen auf Velin von Barcham Green und verso gestempelt. - Tadelloses Exemplar der berühmten Radierfolge zu den Gedichten von C.P. Cavafy. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

Wunderlich, PaulEberswalde 1927 - 2010 Saint-Pierre-de-Vassols, Maler, Grafiker und Bildhauer. Folge von 4 Mappen mit insgesamt 12 Grafiken: "Lithographien I-IV", 1981, "Türkisches Bad", "Straßenszene", "Adam und Eva", "Madame Récamier", "Torso mit Blume", "Paar mit Hund", "Dame mit Schwan", "Adam und Eva", "Handschuh und Falke", "Jagdpoesie", "Nach Manet", "Paul gut getroffen", von Hand in Bleistift sign. und num. "425/1000", HxB: 60/48 cm (Blattmaße), anbei Mappe "Les femmes" mit 3 Grafiken: "Torso", "Mit dem Gesicht zur Wand", "Die geflügelte Nike", unten rechts sign., unten links num. "571/3000", HxB: 40/31 cm (Blattmaße), Farblithographien auf Bütten. Min. Randläsuren. Ungerahmt.

PIERRE BONNARD (FRENCH 1867-1947) LE BAIN (BOUVET 92a) lithograph on paper, from Album des peintres lithographes de Manet à Matisse, from the un-numbered edition of 525, printed by Atelier Duchatel, published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris 31cm x 23cm (12 1/8in x 9in) with William Weston Gallery, London;Property of a Private Aficionado.

Various unframed pictures including reproduction Egyptian papyrus paintings and a Manet cat print, etc.

Küppers, P. E. (Vorwort). Französische Malerei bis 1914 und Deutsche Künstler des Café du Dôme. Gemälde - Graphik. 20 Bl. Mit mehreren blattgr. Abbildungen. 20 x 14,5 cm. Illustr. OBroschur (etwas gebräunt und leicht fleckig). Hannover, Kestner-Gesellschaft, (1919). Katalog der XXVII.-XXVIII. Sonderausstellung im vierten Quartal 1919 der Kestner-Gesellschaft. Gezeigt wurden u. a. Werke von Gauguin, van Gogh, Monet, Braque, Bonnard, Cézanne, Delaunay, Dérain, van Dongen, Dufy, Ensor, Laurencin, Léger, Manet, Matisse, Rousseau, Pissaro, Signac, de Vlaminck, Vuillard - außerdem 18 Werke von Pablo Picasso. - Gut erhalten.

Artist: Pablo Picasso (Spanish, 1881 - 1973). Title: "Bal Olympic: Vrai bal sportif costume (Programme) [Picasso *one original lithograph*, Manet, et al] [Portfolio/Book] [program for the 1924 Ball organized by the Union des Artistes Russes in Paris]". Medium: Original lithographs. Date: Composed 1924. Dimensions: Image size: 11 1/4 x 9 3/4 in. (286 x 248 mm).Pricing:   Starting Price: $1,200  Reserve Price: N.A.  Auction Sale Price Estimate: $1,500/1,800Lot Note(s): Several lithographs signed in the plate. All lithographs with artist credit. Small edition?. Heavy wove paper. Fine impressions. Fine condition. Comment(s): Highly important and rare. The second ball of the Union of Russian Artists in Paris. 12 pages. The printed program is a typographical and artistic masterpiece. Includes Pablo Picasso's original lithograph "Mercure: Etude de Danseur" executed by Picasso after the pencil drawing of the same name, and apparently found only in this program (see: Online Picasso Project, 24:199 for the drawing). Other original lithographs by and after Manet, Vassilieff, Fotinsky, Granovsky, Barthe, and Chatzman. Contains extensive listings of events and contributors. Undoubtedly produced by Francois Bernouard, Paris, like that for the Bal Travesti/Transmental, though the program carries no credit. Picasso images copyright © Artists Rights Society (ARS), New York. [19198-2-1200-NA]

COPLEY, WILLIAM NELSON1919 New York - 1996 Key WestTitel: Lady Be Good. Datierung: 1953. Technik: Öl auf Leinwand. Maße: 114 x 162cm. Bezeichnung: Signiert und datiert innerhalb der Darstellung in der Kette: CPLY. Bezeichnet verso am Keilrahmen: LADY BE GOOD. Rahmen/Sockel: Rahmen. Wir danken Herrn Anthony Atlas, William N. Copley Estate, New York, für die freundliche, wissenschaftliche Unterstützung.Die Arbeit wurde später unter dem Titel "Reclining Nude" ausgestellt.Provenienz:- Sammlung Kasper König, Berlin (direkt vom Künstler)Ausstellungen:- Galleria Montenapoleone, Mailand 1954- Kunsthalle Bern 1980 (Etikett verso)- Centre Pompidou, Paris 1980/1981 (Etikett verso)- Stedelijk Van Abbemuseum, Eindhoven 1981- Badischer Kunstverein Karlsruhe, 1981- Kestner Gesellschaft, Hannover 1995- Aargauer Kunsthaus, Aarau 2000 (Etikett verso)- Bonnefantenmuseum, Maastricht 2009- Museum Frieder Burda, Baden-Baden 2012- Max Ernst Museum, Brühl 2012/2013- The Menil Collection, Houston 2016- Fondazione Prada, Mailand 2016/17- Paula Modersohn-Becker Museum, Bremen 2017/18Literatur: - Ausst.-Kat. William N. Copley, Musée national d'art moderne Centre Georges Pompidou Paris/Kunsthalle Bern, Bern/Stedelijk Van Abbemuseum, Eindhoven 1980, Kat.-Nr. 14, Abb.- Ausst.-Kat. William N. Copley: Heed Greed Trust Lust, Kestner-Gesellschaft, Hannover 1995, Abb.- Ausst.-Kat. Exile on Main St., Bonnefantenmuseum, Maastricht 2009, Abb.- Ausst.-Kat. Copley, Museum Frieder Burda, Baden-Baden 2012, Abb.- Ausst.-Kat. William N. Copley, Fondazione Prada, Milan and The Menil Collection, Houston 2016, Abb.- Ausst.-Kat. Schlaf: Eine Produktive Zeitverschwendung, Paula Modersohn-Becker Museum 2017, Abb.- Ausst.-Kat. William N. Copley: The Coffin They Carry You Off In, ICA Miami, Miami 2019, Abb.- Omlin, Sibylle (Hrsg.): Das Gedächtnis der Malerei, ein Lesebuch zur Malerei im 20. Jahrhundert, Köln 2000, S. 392, Abb.Nach einer kurzweiligen Phase als Galerist widmet sich der Amerikaner William N. Copley (1919-1996) in den 1950er Jahren ganz seiner Tätigkeit als Künstler. Als Autodidakt verschreibt er sich hauptsächlich der figurativen Malerei und arbeitet gänzlich autonom, unabhängig jeglicher kunsthistorischen Kategorien, wie dem zu seinen Lebzeiten aufstrebenden abstrakten Expressionismus. In seiner Arbeit verflechten sich Humor, Erotik, Sozialkritik sowie Motive der Kunstgeschichte und Literatur zu einer exzeptionellen Bildsprache. Sein Stil lässt sich durch Themen der Popkultur wie der Darstellung von Frauen, Sex, Patriotismus und Automobile als auch durch seinen prägnanten Malstil, nämlich klare Konturen und einen leuchtenden flächigen Farbauftrag, definieren. Durch die Verwendung aktueller Themen verleiht Copley seinen Werken einen hohen Grad an Aktualität und stellt schon früh erste Tendenzen in Richtung Pop Art her. Die Reduktion auf die wesentlichen Konturen und der daraus resultierenden stark an den Comicstil angelehnten Bildsprache erhöht für Copley die Aussagekraft seiner Bilder.Surrealistische BezügeBeeinflusst von der surrealistischen Kunst sind auch Copleys Werke darauf angelegt bestehende Erwartungshaltungen der Betrachter auf die Probe zu stellen. Schon zu Beginn seiner Karriere erhält er für seine Malerei zahlreiche positive Resonanzen aus den Reihen seiner Vorbilder wie Max Ernst, Man Ray und Marcel Duchamp, zu denen er in Zeiten seiner Arbeit als Galerist Kontakt knüpft. Kurz nach Aufgabe seiner Galerie in Beverly Hills zieht es Copley daher Anfang der 1950er Jahre nach Paris, wo er unter dem Einfluss der surrealistischen Avantgarde seine sogenannte "private mythology" entwicklet. Ein Formenrepertoire aus dem er für seine gesamte Karriere schöpfen wird. Hier etabliert er vor allem Motive wie die männliche Figur mit Melone, in Anlehnung an Magritte, weibliche Aktdarstellungen, wie der Prostituierten, sowie Polizisten und Automobile. Neben seiner Tätigkeit als Maler ist Copley auch Sammler und trägt im Verlauf der Jahre eine der beeindruckendsten internationalen surrealistischen Kunstsammlungen zusammen.Lady Be Good, oder: Reclining NudeIn dieser Zeit entsteht auch sein Werk "Lady Be Good" von 1953, das unter anderem 2016 auf der größten Copley-Retrospektive ausgestellt wird. Organisiert wird sie von der Fondazione Prada in Mailand in Kooperation mit The Menil Collection in Houston. Das Werk kommt als Geschenk des Künstlers in den Besitz Kasper Königs: "Copley gave me a painting as a present once, a nude that is strongly reminiscent of Henri Matisse [Reclining Nude, 1953]. There's something charming and awkward about it, but it is also a true masterpiece. It is a nude on a mattress without sheets. The buttons of the mattress are like spiders. The woman's armpit hair is painted in the same way as this mattress decor. In the top left corner there's a bidet shimmering through-he had overpainted it, but it came through again ... it is now covered, but for this reason maybe more visible than before. Somebody said to me that Copley was told to overpaint the bidet in the picture because it was regarded as indecent in America- which is indeed possible in the face of its puritan culture-which is an interesting, speculative assertion. The picture possesses a certain innocence and naiveté. It is about a male gaze, but it by no means excludes the female gaze." Mit der Darstellung einer Prostituierten bezieht sich Copley auf die kunsthistorische Tradition der Kurtisanendarstellungen wie sie bei Manet oder Pablo Picasso vorzufinden sind und die die weibliche Figur stets zwischen Lustobjekt und Sündenbock einordnen. Auch lassen sich in "Lady Be Good" gestalterische und kompositorische Parallelen zu Vertretern wie Pierre Klossowski herstellen. Make Love not WarDie "unknown Whore" ist ein wiederkehrendes Motiv in Copleys Ouvre. Der Künstler der den sexuellen Hedonismus von pornografischen Stigmata befreien will, nimmt sich häufig das Motiv der Sexarbeiterin zum Thema, dem er 1966 eine ganze Ausstellung "Projects for Monuments to the Unknown Whore" widmet. Die Herabwürdigung und das gleichzeitige Fetischisieren der Prostituierten lehnt Copley in seinem Werk ab und fügt dem stigmatisierten Motiv einen ironischen Unterton zu: "Here the reclining nude is not the object of a disinterested aesthetic sensibility, and there is the suggestion of laughter at the idea that a reclining nude ever was". Der Gesellschaft ihre primitivsten unterdrückten Triebe vorzuhalten und sie aus erstarrten Denkmustern zu befreien bleibt ein permanentes Anliegen des Künstlers. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog William Nelson Copley USA Surrealismus Pop Art Nachkriegskunst Unikate 1950er Rahmen Akt Gemälde Öl Frau

French School (19th century), Portrait study of a man in a bicorn hat, watercolour, bears inscription on label verso Ed Manet, 29 x 18cm. Framed and glazedCondition Report: UNder glass, faded, badly foxed, needs cleaning.

Antonio Mancini, 1852 Albano Laziale – 1930 RomPORTRAIT EINES ITALIENISCHEN JUNGENÖl auf Leinwand.67 x 50 cm.Rechts unten signiert „A. Mancini“.In dekorativem teilvergoldetem Rahmen.Vor einem Hintergrund in diversen rötlichen Farbtönen das Halbbildnis eines Jungen mit schwarzem breitem Hut, der neben weißen Federn mit goldenen Anhängern verziert ist. Er trägt eine dunkle Jacke mit weißem Spitzentuch um den Hals und Spitze am Armende der Jacke. In seiner linken Hand hält er eine Art Bambusstock. Er hat ein gebräuntes Gesicht, einen leicht geöffneten Mund und mit seinen glänzenden dunklen Augen schaut er seitlich aus dem Bild heraus. Das Bildnis vorgeführt in virtuoser, stark pastoser, dem Impressionismus naher Pinselführung, eine flirrende Atmosphäre vermittelnd.Der Maler zählt zu den bedeutendsten Künstlern der italienischen Moderne. Nach lobendem Urteil über seine Jugendzeichnungen durch Domenico Morelli (1823-1901) wurde er bereits mit zwölf Jahren an der Kunstakademie in Napoli aufgenommen. Bereits 18-jährig stellte er unter großem Beifall im Salon du Paris aus. Mancini war Mitglied der Verismo-Bewegung. Er begab sich 1877 nach Frankreich, wo er Édouard Manet (1832-1883) und Edgar Degas (1834-1917) kennenlernte, später war er eng befreundet mit John Singer Sargent (1856-1925) in London. Der Maler zählt zu den bedeutendsten Künstlern der italienischen Moderne. Nach lobendem Urteil über seine Jugendzeichnungen durch Domenico Morelli (1823-1901) wurde er bereits mit zwölf Jahren an der Kunstakademie in Napoli aufgenommen. Bereits 18-jährig stellte er unter großem Beifall im Salon du Paris aus. Mancini war Mitglied der Verismo-Bewegung. Er begab sich 1877 nach Frankreich, wo er Édouard Manet (1832-1883) und Edgar Degas (1834-1917) kennenlernte, später war er eng befreundet mit John Singer Sargent (1856-1925) in London. (1411695) (18)Antonio Mancini,1852 Albano Laziale – 1930 RomePORTRAIT OF AN ITALIAN BOYOil on canvas.67 x 50 cm.Signed “A. Mancini” lower right.