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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.

Hendrick Goltzius (Muhlbracht, 1558 - Haarlem, 1617) Licaone bulino 17,5x24,7 cm. Testo iscrizione “ Igne Lycaonias devastat Iuppiter aedes Ille fugit rapidum vertirur inque lupum, sylvas et rabiosa petit spelea ferarum, visque ferox animo, quae fuit ante manet”  dal testo Metamorfosi Ovidio, Met., Libro I, vv. 209-243Nella scena sono presenti tre personaggi, Giove in compagnia dell’aquila, Licaone ritratto mentre si sta trasformando in lupo, con le vesti strappate, il corpo parzialmente coperto di peli e il volto già animale. Una terza figura maschile, al centro della scena, potrebbe essere identificata con l’ostaggio sacrificato per conto delle Erinni. La scena si svolge in un interno, la casa di Licaone stesso, mentre sullo sfondo si intravede un edificio dalle cui finestre sembrano fuoriuscire delle fiamme.Condizioni: rifilata al rame, grande gora in alto a destra e più piccola, numeri ai lati abrasi, piccoli strappi

Anhänger an langer Erbskette. 925/000 Sterlingsilber, 52,6 g. Nuggetförmiger Anhänger, poliert und bez. "TEMPUS FUGIT AMOR MANET", D. 4x 2,4 cm. Tragespuren wie Kerben und Kratzer. Erbskette mit Karabinerschließe, L. 80 cm.

Peter Lapish (British 1937-): 'Did Édouard Manet Ever Visit Haworth?', acrylic on paper signed, titled verso 24cm x 33cm

DAVID HOCKNEYFourteen poems by C. P. Cavafy, chosen and illustrated with twelve etchings by David Hockney, translated by Nikos Stangos and Stephen Spender. London: Editions Alecto Limited 1966. 46,5 x 33,0 cm. Mit 12 OrRadierungen (Plattengröße 34,8 x 22,3 cm) sowie einer zusätzlichen signierten und datierten 13. OrRadierung, lose beiligend. 21 nn. Bll. Violette OrBaumwollseide in OrSchuber.Nr. 34 von 250 Exemplaren der Edition A (num. 1-250) auf Crisbrook Waterleaf Handpapier, sämtliche Tafeln rückseitig gestempelt und im Druckvermerk vom Künstler signiert. - Hogben "From Manet to Hockney" 137.

Large original color lithograph entitled Le Fifre (The Fifer) after French artist Edouard Manet's original 1866 oil painting made in a Realist style influenced by Diego Velazquez's artworks. Signature in plate: Manet. Signature in graphite on lower right below plate: A. Beniard? Housed in a copper gilt color wooden frame with a white mat. Sight size: 12"L x 20"H. Frame size: 21.50"L x 29.50"H x 1"W. Artist: After Edouard Manet (French 1832-1883)Issued: c. 1950Country of Origin: FranceCondition: Age related wear.

Vincent van Gogh (Groot Zundert 1853 - 1890 Auvers-sur-Oise)Portrait of Dr Gachet - L'homme à la pipe1890Radierung, Druck von Vincent van Gogh und Paul-Ferdinand Gachet18,2x14,8 cm, Plattenkante; 21,4x16,4 cm, BlattgrösseSignaturRückseitig oben beschriftet "L'Homme à la Pipe - / Eau forte unique de Vincent / Van Gogh - / Auvers-sur-Oise / 25 mai 1890", unten "Epreuve du tirage Dr Gachet-Van Gogh" und von Gachet signiertWerkverzeichnisSjraar van Heugten/Fieke Pabst, The Graphic Work of Vincent van Gogh, Zwolle 1995, Nr. 10.10ProvenienzSlg. Paul Ferdinand Gachet (1828-1909)Slg. Paul Gachet Jr. (1873-1962)Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913bAusstellungenParis 1960, Musée Jacquemart-André, Vincent van Gogh 1853-1890, Kat. Nr. 109Basel/Hovikodden 1975/1976, Kunstmuseum/Henie-Onstad-Kunstsenter, Meisterwerke der Graphik von 1800 bis zur Gegenwartt: Eine Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 90Salzburg/Winterthur 1984/1985, Rupertinum/Kunstmuseum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 86ZustandRadierung in tadellosem Zustand. Rückseitig im rechten und oberen Rand Rückstände einer alten Montierung, ausserhalb der Plattenkante teilweise Spuren von Druckerschwärze ErläuterungenDer 1828 in Lille geborene Paul Gachet galt als Arzt, der seiner Zeit voraus war: Er war Homöopath und suchte Heilung durch den Einsatz von Pflanzen. Nach seiner Promotion 1858 eröffnete er ein Jahr später eine Praxis in Paris. Schon bald verkehrten dort Künstlerpersönlichkeiten wie Cézanne, Pissarro, Manet, Degas, Renoir oder Monet. 1872 erwarb er ein Haus in Auvers, in dem er genügend Platz hatte, um seinen eigenen künstlerischen Neigungen nachzugehen: Er richtete sich ein Atelier ein, kaufte eine Druckerpresse und begann unter dem Pseudonym Paul von Ryssel (Monogramm "PvR") zu radieren. Paul Cézanne und Camille Pissarro druckten zusammen mit Gachet.Am 21. Mai 1890 reiste Vincent van Gogh auf Anraten seines Bruders Theo nach Auvers und mietete ein einfaches Zimmer in der Herberge der Familie Ravoux am Place de la Mairie. Danach nahm er Kontakt zu Gachet auf; ein erstes Mittagessen ist für Pfingstsonntag, den 25. Mai, belegt.Van Gogh arbeitete während seines Aufenthalts in Auvers sehr intensiv und produktiv. Neben zahlreichen Landschaftsbildern malte er zwei Porträts von Dr. Gachet in Öl. In den beiden sich ähnelnden Werken stellte van Gogh den Arzt mit einem Zweig des Fingerhutes dar, einer Pflanze, der heilende Kräfte zugeschrieben werden (de la Faille 753 und 754). Am 15. Juni drückte Gachet van Gogh eine fertig präparierte Platte in die Hand, auf der der Künstler ein Porträt Gachets festhielt, das sich sehr frei an die beiden Ölbilder anlehnte. In einem Brief vom 17. Juni an Theo schrieb Vincent van Gogh: "Ich möchte gerne einige Radierungen nach Motiven aus dem Süden machen, sagen wir mal sechs, denn ich kann sie kostenlos bei Herrn Gachet drucken, er will sie gerne umsonst für mich abziehen. Das muss ich unbedingt machen." Zu diesen Landschaften ist es nicht mehr gekommen.Aus welchen Gründen Gachet auf der Platte mit dem Porträt das falsche Datum "15. Mai" eingravierte, ist nicht zu eruieren. Ein Abzug aus der ersten Druckperiode, der wohl am Tag der Ätzung der Platte oder etwas später in engster Zusammenarbeit mit Gachet entstanden ist, geht Ende Juni an den Bruder Theo, der daraufhin antwortet: "Und nun muss ich dir etwas über deine Radierung sagen. Es ist eine richtige Maler-Radierung. Keinerlei Verfeinerung in der Technik, sondern eine Zeichnung auf Metall. Diese Zeichnung gefällt mir sehr gut – auch Boch gefiel sie. Komisch, dass Dr. Gachet so eine Presse hat. Die Maler jammern ja immer, dass sie mit ihren Problemen zum Drucker müssen …" Von diesen allerersten Abzügen sind bloss vierzehn Exemplare im Werkverzeichnis nachgewiesen.Mitte Juli kühlte sich das gute Einvernehmen zwischen van Gogh und Gachet offensichtlich etwas ab und man traf sich nicht mehr regelmässig. Dies erkärt, warum Gachet die neue melancholische Stimmung des Künstlers nicht bemerkte. Am 27. Juli, einem Sonntag, verliess Vincent das Gasthaus Ravoux nicht nur mit seinem Malzeug, sondern auch mit einem Revolver. Am Abend schoss er sich auf einem Feldweg hinter dem kleinen Schloss von Auvers eine Kugel in den Bauch. Van Gogh fiel in Ohnmacht, wachte aber wenig später auf und schleppte sich schwer verletzt in die Pension zurück. Ravoux, zutiefst erschrocken, legte den Verwundeten in ein Bett. In der Nacht wachten Ravoux und Gachet, am Morgen schickte man nach Theo, der sich mit Vincent während Stunden unterhielt. Warum keine sofortige Einlieferung in eine Klinik veranlasst wurde, bleibt bis heute ein Rätsel. Van Gogh starb in den ersten Stunden des 29. Juli, vermutlich an einer Blutvergiftung. Noch am selben Tag zeichnete Gachet den Aufgebahrten und übertrug die Zeichnung am Tage der Beerdigung in eine Radierung.Das vorliegende Exemplar von "L'homme à la pipe", vom Künstler und seinem Arzt gedruckt, ist wohl der schönste Abzug überhaupt. Ein einzigartiges Zeugnis von van Goghs Kunst.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)13.09.2024; 13:40 h (MEST)VersandkostenSchweiz / Switzerland: CHF 115.-Europa / Europe: CHF 185.-Übrige Länder / Other countries: CHF 235.-

A collection of Halcyon Days 'Art Series' limited edition boxes, to include Smithsonian 'The Garden In Its Glory' by Childe Hassan, No. 219/500, Art Institute of Chicago 'Juggles At The Circus Fernando, Pierre Auguste Renoir, No. 207/500, Edouard Manet 1832-1883, Roses and a Tulip in a Vase, No. 178/250, Smithsonian 'Teddy' Roosevelt, No. 49/100, Augustus John RA 'Still Life with Roses and Blue Drapery', No. 6/100, and Edouard Vuillard's 'Children' No. State Hemitage Collection, No. 93/500, one boxed. (6)

Édouard Manet (1832 Paris 1883)Le corbeauThe Raven. Poème par Edgar Poe. Traduction française de Stéphane Mallarmé. Avec Illustrations par Edouard Manet. Hrsg. von Richard Lesclide, Éditeur, Paris 18751875Lithographien in Pergamentumschlag, in marmorierter Kartonmappe, in Schuber55x36,8 cm, PergamentumschlagSignaturIm Impressum signiert "Stéphane Mallarmé" / "E. Manet" und nummeriert "26".Enthalten sind die Lithographien:1. Le corbeau, Tête de Profil. Harris 83/a, auf dem Pergamentumschlag gedruckt,2. Sous la lampe. Harris 83/b, auf Bütten gedruckt,3. À la fenêtre. Harris 83/c/II, auf Bütten gedruckt,4. Le corbeau sur le buste de Pallas. Harris 83/d/II, auf Bütten gedruckt ,5. La chaise. Harris 83/e, auf Bütten gedruckt,6. Ex Libris. Le corbeau volant. Harris 83/f, auf Pergamin gedrucktWerkverzeichnisHarris 83/a-fMoreau-Nélaton 90-94Guérin 86, a bis dProvenienzSlg. Eberhard W. Kornfeld, Bern, Umschlag Innenseite mit dem Sammlerstempel, Lugt 913bAusstellungenSalzburg 1984, Rupertinum, Von Goya bis Warhol, Meisterwerke der Graphik des 19. und 20. Jahrhunderts aus einer Schweizer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 56ZustandDie Innenblätter minim gebräunt, mit Gebrauchsspuren und vereinzelten Knickfalten. Der Pergamentumschlag mit Flecken. In guter GesamterhaltungErläuterungen"The Raven" (Der Rabe) ist ein erzählendes Gedicht des amerikanischen Autors Edgar Allan Poe, das erstmals am 29. Januar 1845 in der New Yorker Zeitung "Evening Mirror" veröffentlicht wurde. Es schildert in 18 Strophen und 108 Versen den geheimnisvollen mitternächtlichen Besuch eines Raben bei einem verzweifelten Mann, dessen Geliebte verstorben ist, und gilt als eines der bekanntesten Gedichte der amerikanischen Literatur. Stéphane Mallarmé hat den Text ins Französische übersetzt, Edouard Manet schuf die Illustrationen dazu. Die geplante Auflage betrug 240 Exemplare, wobei wohl nicht alle Exemplare gedruckt wurden. Komplette Exemplare sind sehr selten.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 13:45 h (MEST)VersandkostenSchweiz / Switzerland: CHF 130.-Europa / Europe: CHF 230.-Übrige Länder / Other countries: CHF 290.-

Pablo Picasso (Málaga 1881 - 1973 Mougins)Femme nue cueillant des fleursMougins, 20. April 1962Farblinolschnitt auf festem Velin mit Wasserzeichen "ARCHES"34,8x27,1 cm, Darstellung; 62,5x44,2 cm, BlattgrösseSignaturUnten rechts vom Künstler in Bleistift signiert "Picasso", links bezeichnet als "Epreuve d'artiste"WerkverzeichnisBaer 1325/III/B/bBloch 1092ZustandTeilweise leichte Griffspuren an den Rändern. In sehr guter ErhaltungErläuterungenEine Variation zum "Déjeuner sur l'herbe" nach Edouard Manet, mit dem sich Picasso auch im Linolschnitt intensiv beschäftigte. Druck der Exemplare ausserhalb der Auflage, für Künstler und Verleger.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 14:30 h (MEST)VersandkostenSchweiz / Switzerland: CHF 130.-Europa / Europe: CHF 230.-Übrige Länder / Other countries: CHF 290.-

Edgar Degas (1834 Paris 1917)Manet en buste1864/1865Radierung, Kaltnadel und Aquatinta auf Bütten mit Wasserzeichen "MB" (Reed/Shapiro, 1b., S.259)13x10,5 cm, Plattenkante; 27,8x17,9 cm, BlattgrösseSignaturRückseitig mit dem roten Stempel der Vente Degas "Atelier Ed. Degas"WerkverzeichnisReed/Shapiro 19/IVDelteil 14ProvenienzVente Degas, Estampes, Paris, 22.-23. November 1918, Nr. 9Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913bAusstellungenVevey 1998, Musée Jenisch, Degas et Pissarro, Kat. Nr. 17 ZustandBlattränder mit Atelierspuren. Im unteren Bildfeld leichte Flecken sowie minimale braune Farbspritzer. Rückseitig Spuren einer früheren Montierung. Gesamthaft in schöner ErhaltungErläuterungenDie beiden Maler Edgar Degas (1834-1917) und Édouard Manet (1832-1883) verband eine ebenso enge wie turbulente Beziehung. Manchmal waren die Freunde Konkurrenten, zuweilen sogar Gegner. Gemeinsam war ihnen, dass sie die Entwicklung der modernen Malerei in Frankreich leidenschaftlich mitbestimmten. Das vorliegende Bildnis kann als Hommage an die Freundschaft der beiden Künstler verstanden werden. Reed/Shapiro sind sechs Exemplare des vorliegenden Zustandes bekannt geworden, fünf davon befinden sich in Museumssammlungen.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)12.09.2024; 10:15 h (MEST)VersandkostenSchweiz / Switzerland: CHF 115.-Europa / Europe: CHF 185.-Übrige Länder / Other countries: CHF 235.-

Manet 1832-1883 Publikation erschien in französischer und englischer Sparche als Katalog zu der gleichnamigen Ausstellung in Paris, Galeries Nationales du Grand Palais 04/-08/1983, New York, The Metropolitan Museum of Art 09/-11/1983, 548 S. mit zahlr. Abb., wasserfleckiger OLN mit geprägtem Titel, illustr. OU, aussen wie innen gut

New York: Lamplight Collection of Modern Art, 1975. Hardcover book depicting Olympia by Edouard Manet (French, 1832-1883) on the front cover. 91-pages of impressionist works from various artist. Eugene Boudin. Claude Monet, Pierre Auguste Renoir, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United StatesCondition: Good.

Cachin (Françoise) & others. Seurat, Paris, 1991 § Degas, Paris, 1988 § Manet 1832-1883, Paris, 1983 § Rosenblum (R.) & H.W.Janson. Art of the Nineteenth Century: Painting and Sculpture, 1984 § Clay (Jean) Romanticism, New York, Paris & Lausanne, 1981, illustrations, many coloour, the last two with book-label of James Stirling, original cloth or boards with dust-jackets; and c.40 others on 19th century continental art, v.s. (c.45)

* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and final state, with printed inscription to lower margin of the image 'Peint et Gravé par Manet 1865' and 'Imp. A. Salmon', plate size 94 x 82 mm (3 7/8 x 3 1/4 ins), sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazedQTY: (1)NOTE:Moreau-Nélaton 16; Guérin 38; Harris 61.Final published state of Manet's portrait of Baudelaire, after a photograph by Nadar.

Edouard Manet (French, 1832-1883). Etching on paper titled "Jeanne (Spring)" depicting a woman holding an umbrella, ca. 1882. Signed in print along the lower left.Sight; height: 7 1/2 in x width: 4 3/4 in. Framed; height: 20 1/2 in x width: 15 1/2 in.Condition: The sheet is toned. There are no visible tears, creases, losses, or repairs. The work is housed under an acidic mat. Framed under glass. Light wear to the frame. Not inspected out of frame.

Tim Merrett (American, 20th/21st c.) Group of two oil on canvas and panel paintings including:"Excavation (From Monet - 1869.)" depicting beautifully arranged flowers in the vase with fruits on the table, 2008."Excavation (from Manet - 19th c.)" depicting pink and purple flowers in the transparent vase on the table, 2008.Larger; sight; height: 40 in x width: 32 in. Framed; height: 43 in x width: 35 in x depth: 2 1/2 in. Smaller; sight; height: 18 in x width: 10 1/2 in. Framed; height: 21 in x width: 13 1/4 in x depth: 2 1/2 in.Condition: No major tears, losses, or restorations. The colors are bold and bright. Light wear to the frames.

Manet (Édouard) Trente Eaux-fortes originales, the complete portfolio, title in red and black with heliogravure portrait of Manet by Henri Fantin-Latour, printed introductory leaf by Theodore Duret and list of contents, 30 etched plates on Van Gelder laid paper, each within window mounts and later mylar protective sheet, loose as issued in original beige printed cloth portfolio, folio (most plates c.450 x 320mm, overall size 560 x 380mm.), Paris, A. Stroelin, 1905.*** Limited to 100 copies, this portfolio was conceived between 1859 and 1882 but not published till 1905.The following prints are included:Guitare et chapeau, 1874; Le guitarero, 1860; Le Gamin au chien, avec le cabas, 1862; Les Gitanos, 1861; Lola de Valence, 1861; La petite fille tenant un bébé, 1862; La Toilette; Le Torero mort; Les petits cavaliers, d'après Velazquez; Silentium, 1859-60; Mariano Camprubi, 1861; Gamin buvant à la régalade, 1861; L'enfant au chien; Le fumeur, 1863; Le fumeur (en esquisse), 1863; L'infante Marguerite, d'après Velazquez; Marine; Le rève du marin [Théodore de Banville]; Le philosophe; Baudelaire de profile; Edgar Poe; Olympia; Olympia, 1866; Gamin faisant une bulle de savon, 1866; L'acteur tragique, 1866; Berthe Morisot, 1868; Eva Gonzalès, 1869; Trois croquis de chats sur une planche, 1869; La queue à la boucherie, 1871; and Jeanne, 1882.

[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910], 8vo, 38-page exhibition catalogue, wrappers. FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE WRAPPER.[BELL, Vanessa (1879-1961)] - [Exhibition Catalogue:] Manet and the Post-Impressionists. Nov. 8th to Jan. 15th 1910-11. 10 a.m. to 6 p.m. (Under Revision). London: Ballantyne & Company Ltd [for Grafton Galleries], [1910]. 8vo (178 x 120mm). 38-page exhibition catalogue, advertisements (some very light mainly marginal spotting and staining, very lightly browned throughout). Original printed wrappers (detached, lacking backstrip, some fraying and short marginal tears not affecting letters, each wrapper lightly stained at one edge). FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE UPPER WRAPPER. The exhibition held at the Grafton Galleries in London was a ground-breaking succès de scandale which first established the term 'Post-Impressionist'. It contained previously unseen works by Manet, Cézanne, Gauguin, Matisse, Picasso, Seurat and Van Gogh, among others, and shocked the British artistic establishment which remained largely Victorian in outlook, as revealed in the vitriol of contemporary reviews with their accusations of 'degeneracy'. On the gallery's "Honorary" and "Executive" committees were Clive Bell - Vanessa Bell's husband - Roger Fry, Lionel Cust, Lady Ottoline Morrell and, its Secretary, Desmond MacCarthy. In the catalogue's 7-page introductory essay, unattributed but probably by Roger Fry, the writer (commenting specifically on Matisse, although his words could apply more generally to the artists on display) states: "... this search for an abstract harmony of line, for rhythm, has been carried to lengths which often deprive the figure of all appearances of nature. The general effect ... is that of a return to primitive, even perhaps of a return to barbaric, art. This is inevitably disconcerting ..." Vanessa Bell (née Stephen), who has signed the upper wrapper of this catalogue in ink, was an English painter and interior designer, a prominent member of the Bloomsbury Group and sister of Virginia Woolf. Provenance: Included in the lot is Sotheby's 'Charleston' catalogue for its sale held on 21st July 1980, containing 130 lots "... donated from various sources to be sold for the benefit of The Charleston Trust ..." and in which the present exhibition catalogue ("Vanessa Bell's copy") is included as lot 225 with the footnote "The celebrated exhibition which introduced Post-Impressionism into this country"; loosely-inserted is an accompanying autograph note from the buyer. RARE.

λ&nbspALFRED WOLMARK (BRITISH 1877-1961) BRETON FISHERBOYS Oil on canvas Signed with monogram (lower left) 76 x 63.5cm (29¾ x 25 in.) Painted circa 1911.Provenance: Cyril Ross, friend and patron of the artist Exhibited: (probably) London, Ben Uri Gallery, Wolmark Memorial Exhibition, 1961, no. 13 London, Belgrave Gallery, Wolmark Centenary Exhibition, 1977, no.1 Bradford, Bradford City Art Gallery, Jewish Artists of Great Britain, 1978, no. 39 (illustrated in the catalogue p. 33) Glasgow, Glasgow City Art Gallery, Exhibition of Jewish Art, 1979, no. 74 (illustrated in the catalogue p. 16) London, Phillips, The Ben Uri Story, 2001, no. 75 Edinburgh, Phillips, The Ben Uri Story, 2001, no. 75 London, Ben Uri Gallery, Alfred Wolmark, 2004, no. 35 (illustrated in the catalogue p. 34 Hull, Ferens Art Gallery, Alfred Wolmark, 2005, no. 35 (illustrated in the catalogue p. 34) As the son of Polish emigrés, Wolmark's early work was traditional in style and focussed on depictions of his Jewish heritage. However, by 1910, influenced by the movements in modern art both in Britain and on the continent, Wolmark had embarked upon a more radical and vibrantly coloured path. He participated in Roger Fry's seminal exhibition Manet and the Post Impressionists at the Grafton Galleries in 1910, with his work hanging alongside that of Van Gogh. In the summer of 1911, he and his new wife spent their honeymoon at Concarneay in Brittany. It was a trip that would transform Wolmark's painting and cement him as one of the pioneers of the modernist movement in England. Concarneau and the surrounding area was already a popular destination with artists. As never before, Wolmark was exposed to the French Avant-Garde and was profoundly influenced by the Fauves' strong use of colour and fluid composition. He worked prodigiously throughout the ten week trip producing around ninety canvasses. He took as his subject matter the local fisher people such as the present lot, as well as the bustling markets, port and rugged coastal landscape. The work that Wolmark produced in 1911 is some of his best and most significant of his career. The rawness and immediacy of these compositions reveal Wolmark's excitement at having found this new artistic direction. They exude an energy that the young painter undoubtedly felt for his newfound style. Condition Report: The paint is thin in places around the edges with a few small paint losses, most notably to the centre of the lower edge. There is some fine scattered cracking to the areas of thick impasto. Otherwise in good original condition. No evidence of retouching visible under ultraviolet light. Condition Report Disclaimer

After Edouard Manet, French (1832-1883) Le Chat aux Fleurs, 1869,ÿ(cat with flowers) etching and aquatint on rives paper, final state, posthumous impression, approx. 22cms x 17cms (8 3/4" x 6 3/4"), framed and glazed, gilt frame. (1) Ref: Guerin 53. Harris 65

Edouard Manet (1832-1883)Charles Baudelaire, etching, 9 x 8cm

Drei internationale Szenerien: Gros-Horloge in Rouen, Aquarell, rücks. bez.: Bonnington 1880, 29 x 21 cm; Fr. Kalinowski, Kathedrale mit großer Freitreppe, signiert und datiert 1938, Öl/Lwd, 33 x 42 cm; Venedig mit Blick vom Canale Grande auf den Campanile und den Dogenpalast, signiert, rücks. Hinweis auf Lucien Frank (1857 - 1920, Schüler von Daubigny und Edouard Manet), Aquarell, 41 x 62 cm. Three international scenes: Gros-Horloge in Rouen, watercolour, inscribed on the reverse: Bonnington 1880, 29 x 21 cm; Fr. Kalinowski, Cathedral with grand staircase, signed and dated 1938, oil on canvas, 33 x 42 cm; Venice with a view of the Campanile and the Doge's Palace from the Grand Canal, signed, on the reverse reference to Lucien Frank (1857 - 1920, pupil of Daubigny and Edouard Manet), watercolour, 41 x 62 cm.

Ofenplatte.: Gusseiserne Platte. Szene aus Genesis 22, Abrahams Opfer. Verbum Dommini manet in (a)eternum. Dom(i)ni 1560. 71 x 45 cm. Ca. 42 kg. - Selbstabholung oder Versand durch Spedition. D

Historismus-KugelfußbecherRichard Garten, Dresden, Ende 19. Jh., Silber 800, ca. 130 g, runder sich erweiternder Korpus von 3 Kugelfüßen getragen, Wandung schauseitig mit integrierter Luther-Medaille samt Dat. 1661, rückseitig mit reliefplastischem Rosen-Wappenschild, je zwischen vegatabilem Rankenwerk, umlaufende Schriftzüge "DAS CHRISTENHERZ AUF ROSEN GEHT ZUMAL WENNS UNTERM KREUZE STEHT" und "VERBUM DOMINI MANET IN AETERNUM", ausgestellter Mündungsrand, punziert: Halbmond nebst Krone, Feingehaltsstempel und Herstellermarke, H: ca. 9,5 cm. Guter Erhaltungszustand.

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)

Time Life Library of Art, 12 volumes, The World of Goya;  Giotto;  Rembrandt;   Rodin;   Durer;  Rubens;  Manet;  Matisse;   Turner;   Michelangelo;   DelacroiX;   Velazques

antique oil on panel in the style of Eduard Manet with a reading woman, possibly a portrait of Suzanne Leenhoff || Antiek olieverfschilderij op paneel in de stijl van Eduard Manet : "Lezende vrouw (misschien een portret van Suzanne Leenhoff)" - 16,5 x 14,5

Impressionist (Frankreich, um 1870) Sommerliche Bootsfahrt. Öl/Lwd., auf Karton gezogen, verso Zuschreibung an Manet mit Experten-Stempel CLAVIERE EXPERT pres COUR D'APPEL DE PARIS TRIBUNAL CIVIL de la SEINE. 15,5x 20,5 cm.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), ODALISQUE oil on canvas, signedframed image size 85cm x 120cm, overall size 104cm x 139cm Provenance: We are grateful to Lachlan Goudie, artist, writer, broadcaster and the leading authority on the work of his father, for authenticating "Odalisque" and confirming that "Yes, I know this canvas very well. It’s one of my father’s finest nude paintings, a tribute in many ways to his artistic heroes Manet and Velazquez. The subject is my mother, Marie Renee Goudie, who was a muse for my father throughout his career. It’s a supremely confident piece of virtuoso painting, designed to create an impression of sensuality and exoticism. A wonderful work". Note 1: The loose meaning of Odalisque in the world of art is “a reclining nude, female figure”. The word is French in form and Originates from the Turkish work “Odalik” meaning “Chambermaid” One of the earliest examples of a painting of this subject matter was Jean Auguste Dominique’s Ingres work painted in 1814 and titled “Grande Odalisque”. The painting was commissioned by Napoleon’s sister, and Ingres apparently drew inspiration upon the classical works of Dresden Venus by Giorgione and Titans Venus of Urbino. Since then the subject has been painted by many great artists such as Francois Boucher, Jules Joseph Lefebvre and More. Great Twentieth Century artists such as Matisse ,1926 (Metropolitan Museum) and Picasso’s “The Great Odalisque” painted in 1907 have visited this subject, as have Scottish artists, John Bellany and Goudie. Most of these artists have used their lovers or muses as the subject and Goudie’s picture is no different In Goudie’s painting the artist has used his wife as the model. Her reclining figure shown from the front looking sideways as if to tease the artist with her beauty. Her naked curves against a rich scarlet, Vermillion background arouse a strong sexuality. The flowers and drapery seek to soften the composition and create a colour contrast which clearly demonstrates a deep love between the artist and model. It has to be said that many nude painting are often rebuffed by a Traditionally Calvinistic Scottish art world, but in this picture Goudie has created a masterful work, of great passion to match the age old subject matter.Note 2 : Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist, he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

New York: Harry N. Abrams, Inc., 1975. Large hardcover art book with its original dust cover and clear snap fasten sleeve. Front cover shows Portrait of a Lady by Rogier van der Weyden (Dutch, 1399-1464). 696-pages with 1120 illustrations, including 1028 full colored plates. Features many works from notable artists, such as Pietro Perugino, Raphael, Manet, and many more. ISBN: 081093369 Artist: John WalkerIssued: 1975Dimensions: 1"W x 11.75"H x 2.25"DManufacturer: Harry N. Abrams, Inc.Country of Origin: United StatesCondition: Good.

Jacques Villon, French 1875-1963,  Le déjeuner sur l'herbe, after Edouard Manet, 1929;  etching and aquatint in colours on Arches wove,  signed and numbered 108/200 in pencil,  plate: 48.5 x 61.5cm,  (framed) (ARR)   

Paul Wunderlich (1927-2010), ''Nach Manet'', Farblithpgraphie, u. re. handsign., u. li. num. 613/1000, Blattmaße 60 x 48 cm

A group of modern and contemporary art books including 'David Hockney: A Drawing Retrospective', 'Japanese Studio Crafts', 'Modern British Sculpture', 'A Story of Modern Art', 'The Print in Germany 1880-1933', 'From Manet to Hockney', etc (14).

Three pictures; a late 19th/early 20th century French gouache, an oil on board still life signed 'A Manet' and a signed lithograph print by German artist/sculptor Eckhart Haisch (B.1941) Dated '78. In house P&P is not available on this lot.

Max Slevogt, Amaryllis und FliederÖl auf Leinwand. 80,6 x 60,4 cm. Gerahmt. Unten links hellbraun signiert und datiert 'Slevogt 16'. Rückseitig auf dem Keilrahmen handschriftlich, von fremder Hand bezeichnet "Professor Slevogt, Lietzenburger St. 8a". - Leichte Randbereibung rechts, sonst farbfrisch erhalten.Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers aufgeführt.Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz, für ergänzende Hinweise.ProvenienzVermutlich Paul Cassirer, Berlin; Privatbesitz München; Mathias Lempertz'sche Kunstversteigerung, Köln, Auktion 491, 8./9. Dezember 1966, Lot 651; Privatsammlung BayernLiteraturMax Goering, Max Slevogt. Sechzig Bilder, Kanter-Buch Nr. 27, Königsberg 1941, Tafel 27; Hans-Jürgen Imiela, Max Slevogt. Eine Monographie, Karlsruhe 1968, S. 421, Anm. 5„Mal doch mehr so Schmuckstillleben und Gourmandisen – d. h. Hummer und ähnliche schmackhafte Sachen. Die muß er Dir schließlich abkaufen!“ Mit diesen Worten wandte sich Max Slevogts langjähriger Mentor und Freund Karl Voll am 7. September 1900 an den Maler, um ihm die Anfangszeit in Berlin zu erleichtern und die Zusammenarbeit mit dem Galeristen Paul Cassirer zu fördern. Tatsächlich schuf Slevogt zu Beginn seines Schaffens nur wenige Stillleben; erst seit etwa 1914/1915 verlegte er sich auf Stilllebenmotive aus seiner häuslichen Umgebung. Abgesehen von teils üppig ausgestatteten Küchen-Stillleben, schuf Slevogt auch zahlreiche Blumenarrangements, bei denen er sich vor allem an den Werken Édouard Manets orientierte. Auch das angebotene „Blumenstillleben mit Flieder und Amaryllis“ von 1916 zeigt kompositorisch und motivisch Anleihen an Manet. So gestaltete er den Strauß aus zwei Fliederzweigen und drei Amaryllisblüten ganz in Alla-prima-Malerei unmittelbar vor dem Motiv und neutralem Hintergrund. Mit schnellem, sicherem Farbauftrag – teils gestrichelt, teils getupft – betonte Slevogt die Bildidee des unmittelbaren Eindrucks. Auch die Wahl der bauchigen Glasvase scheint eine bewusste Entscheidung gewesen zu sein; bildet sie doch das perfekte Gegengewicht zum Volumen der Blüten.

Manner of Philipp Peter Roos, two figures and a dog, 17 x 28 cm, and after Edouard Manet, a print of a gentleman, 14 x 13 cm (2)

An antique hand painted oil on canvas copy of Olympia by Edouard Manet. Artist unknown. 31cm x 21cm

Frankreich: GOLD Gedenkmünzen Trésors des Musées d'Europe - Le Fifre de Edouard Manet.Gold, in Kapsel, mit Etui.17 g.Zustand: I

The Art Journal 1876; The World’s Famous Pictures, 2 Volumes, numerous plates; Les Editions Du Chene, 3 volumes, Paris, frameable coloured prints Modigliani, Manet and Picasso (blue and rose period).

UNBEKANNTER KÜNSTLER DES 19. JHDT.Liegender AktÖl/Leinwand, 61 x 47,5 cmSCHÄTZPREIS °€ 800 - 1600STARTPREIS °€ 800Der vorliegende Akt ist mutmaßlich der französischen Malerei in der Zeit des Übergangs vom Realismus zum Impressionismus zuzuordnen. Gustave Courbet (1848 – 1894), Édouard Manet (1832 – 1883), Gustave Caillebotte (1848 – 1894) und Pierre-Auguste Renoir (1841– 1919) revolutionierten in der zweiten Hälfte des 19. Jahrhunderts die Wiedergabe der menschlichen Figur, indem sie die klassizistische Vorstellung einer Idealgestalt hinter sich ließen und insbesondere weibliche Akte anatomisch korrekt malten. Die naturgetreue, individuelle Abbildung des lebenden Modells trat in den Vordergrund. Liegende Akte des Realismus sind insbesondere von Gustave Courbet („L’Origine du monde“, 1866) überliefert. „Impression, Soleil levant“, Claude Monets Seestück, das dem Impressionismus seinen Namen gab, stammt aus dem Jahr 1872. Protagonisten des Impressionismus waren insbesondere Frédéric Bazille (1841 – 1870), Eugène Boudin (1824 – 1898), Marie Bracquemond (1840 – 1916), Louis Édouard Joseph Braquaval (1854 – 1919), Gustave Caillebotte (1848 – 1894), Paul Cézanne (1839 – 1906), Edgar Degas (1834 – 1917), Paul Gauguin (1848 – 1903), Eva Gonzalès (1847 – 1883), Armand Guillaumin (1841 – 1927), Jacques Lalande (1921 – 2003), Édouard Manet (1832 – 1883), Maxime Maufra (1861 – 1918), Claude Monet (1840 – 1926), Berthe Morisot (1841 – 1895), Camille Pissarro (1830 – 1903), Pierre-Auguste Renoir (1841– 1919) und Alfred Sisley (1839 – 1899). Vgl. auch Eugène Emmanuel Amaury-Duval, Jean-Pierre Alexandre Antigna, Jules Bastien-Lepage, Paul Baudry, Frédéric Bazille, Léon Bonnat, François Bonvin, Eugène Boudin, William Adolphe Bouguereau, Jules Breton, Alexandre Cabanel, Gustave Caillebotte, Carolus-Duran, Jean-Charles Cazin, Paul Cézanne, Théodore Chassériau,  Jean-Baptiste Camille Corot, Gustave Courbet, Charles-François Daubigny,  Edgar Degas, Alfred Dehodencq, Eugène Delacroix, Jules-Élie Delaunay, Gustave Doré, Henri Fantin-Latour, Paul Gauguin, Jean-Léon Gérôme, Charles Giraud, Eva Gonzalès, Paul Guigou, Ernest Hébert, Jean Jacques Henner, Jean-Auguste-Dominique Ingres, Philippe-Auguste Jeanron, Johan Barthold Jongkind, Jean-Paul Laurens, Alphonse Legros, Adolphe Leleux, Hector Leroux, Édouard Manet, Jean-Louis Ernest Meissonier, Jean-François Millet, Oscar Claude Monet, Gustave Moreau, Berthe Morisot, Camille Pissarro, Pierre Puvis de Chavannes, François-Auguste Ravier, Henri Regnault, Pierre-Auguste Renoir, Augustin Théodule Ribot, Philippe Rousseau, Théodore Rousseau, Alfred Sisley, Octave Tassaert, James Tissot und Constant Troyon.Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

Walasse Ting Pop-Art Bibel 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 • Gemeinsames Künstlerprojekt von europäischer und amerikanischer Avantgarde '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 Schuber. 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. - ZUSTAND: Auf Anfrage. - PROVENIENZ: Privatsammlung Mainz. 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. - Only few minim. creases in the margins. Good and clean copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Paul Gauguin Noa Noa. Voyage à Tahiti. München, Marées-Gesellschaft 1926. Sehr seltene Mappe zur Vorzugsausgabe von Gauguins Noa Noa, in 1 von 80 römisch numerierten Exemplaren mit einem bis dato nie gedruckten Orig.-Holzschnitt. Erste Ausgabe. 45. Druck der Marées-Gesellschaft. Schöner aufwendiger Faksimiledruck der Ganymed-Presse, Berlin, unter Aufsicht von dem Herausgeber J. Meier-Graefe gedruckt. - Der Orig.-Holzschnitt Christ on cross wurde von D. de Monfreid von dem in seinem Besitz befindlichen Holzschnitt auf Japan abgezogen. 'Der Holzschnitt bleibt ausschließlich für diese Ausgabe reserviert,. Er trägt den Blindstempel der Marées-Gesellschaft, das Monogramm Gauguins und die Estampilie Monfreids' (aus dem Druckvermerk). Zudem wurden 12 der wesentlichen Aquarelle des Werkes separat abgezogen und unter Passepartout montiert, auch diese mit Blindstempel der Marées-Gesellschaft. Dabei ein broschiertes Heft mit Manuskriptseiten und einer Bildseite, die 'fehlerhafte und unvollständige Probedrucke des Werkes' sind (Druckvermerk). - EINBAND: Lose Graphiken unter Passepartout in Orig.-Bast-Mappe mit montiertem Deckelschild, 50 : 35 cm, sowie illustrierter Orig.-Umschlag, 33,5 : 26 cm. - ILLUSTRATION: Mit 1 Orig.-Holzschnitt auf Japan sowie 12 Aquarellen unter Passepartout.  - ZUSTAND: Auf Anfrage. - LITERATUR: Monod 5158. - From Manet to Hockney 15. - Skira 129. - Mahé II, 175. - Mongan-Kornfeld/Joachim A.III.b. Very rare portfolio for the de luxe edition of Gauguin's Noa Noa, in 1 of 80 Roman numbered copies with an original woodcut by Gauguin that has never been printed before. Loose graphics under passe-partout in original raffia portfolio with mounted cover label, 50 : 35 cm, as well as illustrated original cover, 33.5 : 26 cm. With 1 orig. woodcut on Japon and 12 watercolors under passepartout. - 3 watercolors with small marginal defects, 1 passe-partout back with tear and small missing part, 1 passe-partout with creases. Portfolio flaps slightly foxed. Additional booklet is missing 1 leaf. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Edgar DEGAS (1834-1917) "Portrait de Manet" Lithograph - Weight: 1.63 kg - Shipping available - Region: France - Sizes: H 535MM X L 370MM - At first glance: good condition

After Edouard Manet, le Dejeuner sur l'Herbe, mixed media crayon/watercolour on paper, unsigned, 49cm x 62cm, framedPainting is mid-20th century but no artist information available, framed but no glass

Manet, Edouard: (1832 Paris 1883). Baudelaire de profil en chapeau. Radierung auf bräunlichem Bütten aus Th. Duret, E.Manet, sein Leben u. sein Werk, Berlin, P.Cassirer 1910. 11,5 x 7,3 cm., Blgr. 25,7 x 20,3 cm. Mit d. Monogramm in d. Platte. - Guérin 30. - Mit dem orig. Deckpapier. R

NICHOLAOS GYSIS (1842-1901)Stilleben, Nelken signé 'N. Gysis' en bas à gauchehuile sur toile 77 x 63 cm. (30 5/16 x 24 13/16in.)signed 'N. Gysis' lower leftoil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsBerlin, Landes-Ausstellungsgebäude, Grosse Berliner Kunst-Ausstellung 1893, May 14 - September 17, 1893, no. 529 (listed in the exhibition catalogue, p. 36).LittératureThe Greek Painters, vol. 1, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 156 (mentioned).Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to Date, Pierides Foundation edition, Thessaloniki 1992, p. 64 (mentioned).Gyzis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 36 (shown in a photograph with the artist in his studio, c. 1899).Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 101 (mentioned).Against a dark backdrop, comparable to still lifes by Boudin and Manet, Gyzis juxtaposes an alluring bouquet of carnations placed casually in a tall glass vase. Apparently, he is not interested in creating an opulent arrangement that would dazzle the viewer with its meticulous naturalistic detail, abundance of material, and wide range of hues. Instead, by assigning a leading role to the light falling on the flower heads, he seeks through stark contrast and glowing colour to capture freshness and delicacy and achieve a unified and dramatic effect. The red, white, and pink blossoms are dashed off with perfect assurance that the artist's brush will suggest both tactility and featheriness, convey the essence rather than the appearance of the subject, and deliver a perfectly balanced floral composition that bursts with life.For further information on this lot please visit Bonhams.com

Astruc, Zacharie, franz. Kunstkritiker, Dichter, Komponist, Maler und Bildhauer, befreundet mit vielen Pariser Künstlern, darunter Carolus-Durand und Édourd Manet (1833-1907). Eigh. Brief m. U. "Zacharie Astruc". 1 S. Doppelblatt. Gr. 8vo. Paris (wohl um 1880). An Paul de St. Victor. "... J'ai vu Mr Guillaume. Il va donner suite à ma réclamation - car j'ai dit sans nommer personne, que la révision n'était pas allée jusqu'à moi ... Il a répété: il faut je justice se fasse. Mais comment faire revenir ceux qui sont contre moi ... Est-ce là le secret de votre éloquence? ... Carpeaux, que jai vu, est indigné." - Der bedeutende Bildhauer und Maler Jean-Baptiste Carpeaux (1827-1875) gilt als Hauptmeister der franz. Plastik des 19. Jhdts.

IN THE STYLE OF MANET Figures and a dog in a boulevard Oil on canvas Unframed 75cm x 111cm

[MANET (Edouard)]. DURET (Théodore). Edouard Manet Sein Leben und Sein Kunst. Translated by Dr. E.Waldmann-Bremen. Berlin: P. Cassirer 1910, 4to, with two etchings and a coloured woodcut, some toning, vellum, a little stained

Nachlass mit GOLD und SILBER im großen Alukoffer. Goldanteil gesamt ca. 35 g und Feinsilber gesamt ca. 350 g. Davon Goldanteil: Im kleinen Alukoffer: 10 x Kleine Goldmünzen/-medaillen aus 585er Gold, div. Motive und Jahrgänge, je ca. 0.3 g Gold fein; 4 x Kleine Goldmünzen/-medaillen aus 999,99 Gold, div. Motive und Jahrgänge, je ca. 0.5 g Gold fein; 1 x BRD - 100 Euro 'FIFA Fußball WM 2006' 2005, 1/2 Unze Gold fein, vz aus stgl.; 1 x BRD - 1 DM 2001/F, Zum Abschied der DM, vz-stgl., 12g Gold fein, im Originaletui; 1 x Frankreich - Frankreich 1/4 € 'The Euro of Children' 2002, PP, ca. 3.1 g Gold fein, im Originaletui mit Zertifikat; Davon Silberanteil u. a.: 1 x Vatikan - Kursmünzensatz Benedictus XVI 2008 mit Silbermedaille, ca. 38.5 g Ag fein; 1 x Silberbarren geprägt, Hersteller Umicore 100 g, luftdicht verschweißt; 1 x Malawi - 50 Kwacha 2010, 1 Unze Ag fein; 1 x Österreich - 1,5 Euro Philharmoniker 2008, 1 Unze Ag fein; 1 x Südkorea - 2 Won 2010, 7g Ag fein; 1 x Finnland - Silbermedaille farbige Winterszene 2008, 18.7 g Ag fein; 1 x Cook Islands - 10 Dollars Burj Dubai 2010, Skulpturmünze, 28.6g Ag fein; 1 x Frankreich - 100 Francs 1991, 19.9g Ag fein; 1 x Niederlande - 10 Gulden 1970, 18 g Ag fein; 1 x Niederlande - 2,5 Gulden 1966, 10.8g Ag fein; 1 x Niederlande - 1 Gulden 1955, 4.6g Ag fein; 2 x Niederlande 1/2 Gulden 1929-1930, je 3.7g Ag fein; 2 x Niederlande - 25 Cents (1/4 Gulden) 1939-1945, je 2.2g Ag fein; 2 x Niederlande - 10 Cents 1938-1941, je 0.8 g Ag fein; 2 x Frankreich - 1/4 Euro Degas/Manet 2007 Silbermünzbarren, je 13.5g Ag fein; 1 x Australien - 1 Dollar Ferkel 2007, 32g Ag fein; Des Weiteren 7 x San Marino - 2 Euro Sonderprägungen 2004-2010; 2 x San Marino - 1 Euro 2009; 1 x San Marino - Kursmünzensatz 2006-2009; 1 x San Marino - Kursmünzensatz 2007; Sowie 1 x BRD - Sonderprägung 2008 in CuNi. Erhaltungen verschieden.| Estate with GOLD and SILVER in a large aluminum case. Total gold content approx. 35 g and total fine silver approx. 350 g. Of which gold content: In the small aluminum case: 10 x small gold coins/medals made of 585 gold, various designs and years, each approx. 0.3 g fine gold; 4 x small gold coins/medals made of 999.99 gold, various designs and years, each approx. 0.5 g fine gold; 1 x BRD - 100 Euro 'FIFA Fußball WM 2006' 2005, 1/2 ounce fine gold, mint from original case; 1 x BRD - 1 DM 2001/F, Zum Abschied der DM, mint from original case, 12 g fine gold, in original case; 1 x France - France 1/4 € 'The Euro of Children' 2002, PP, approx. 3.1 g fine gold, in original case with certificate; of which silver part, among others: 1 x Vatican - coin set Benedictus XVI 2008 with silver medal, approx. 38.5 g Ag fine; 1 x silver bar minted, manufacturer Umicore 100 g, airtight sealed; 1 x Malawi - 50 Kwacha 2010, 1 oz Ag fine; 1 x Austria - 1.5 Euro Philharmonic 2008, 1 oz Ag fine; 1 x South Korea - 2 Won 2010, 7g Ag fine; 1 x Finland - silver medal colored winter scene 2008, 18. 7g Ag fine; 1 x Cook Islands - 10 Dollars Burj Dubai 2010, sculpture coin, 28.6g Ag fine; 1 x France - 100 Francs 1991, 19.9g Ag fine; 1 x Netherlands - 10 Gulden 1970, 18g Ag fine; 1 x Netherlands - 2.5 Gulden 1966, 10.8g Ag fine; 1 x Netherlands - 1 Gulden 1955, 4.6g Ag fine; 2 x Netherlands 1/2 Gulden 1929-1930, 3.7g Ag fine each; 2 x Netherlands - 25 Cents (1/4 Gulden) 1939-1945, 2.2g Ag fine each; 2 x Netherlands - 10 Cents 1938-1941, 0. 8 g Ag fine; 2 x France - 1/4 Euro Degas/Manet 2007 silver coin bars, each 13.5g Ag fine; 1 x Australia - 1 Dollar Piglet 2007, 32g Ag fine; Furthermore 7 x San Marino - 2 Euro commemorative coins 2004-2010; 2 x San Marino - 1 Euro 2009; 1 x San Marino - coin set 2006-2009; 1 x San Marino - coin set 2007; as well as 1 x BRD - commemorative coin 2008 in CuNi. Mintages and conditions various.

Maler/Kopist des 20. Jh."Am Strand", ein Paar das Meer beobachtend, Darstellung nach Eduard Manet, unsign., Öl/Holzplatte, HxB: 50/63 cm. Altersspuren, Farbabrieb, verschmutzt. Mit Rahmen.

Six framed prints, comprising After Salvador Dali Autumn Cannibalism, 50.5cm x 50.5cm, After Manet, The Piper, 59.5cm x 35cm, After Raoul Dufy, The Concert, 43cm x 54cm, After Raoul Dufy, Regatta at Cowes, 45cm x 56cm, De Rousseau Le Cascade, 40cm x 49cm, and After Jean Baptiste, Simon Jardin The Kitchen Maid, 44cm x 35cm, in white painted frames. (6)

Six framed prints, comprising after Henri Matisse The Goldfish, 61cm x 41cm, after Russo, The Walk, 43.5cm x 53.5cm, after Renoir, The Artist's Son, 43cm x 54cm, after Matisse Utrillo Christmas in Montmartre, 35cm x 44.5cm, Edouard Manet, A Bar at the Folies Bergere, 34cm x 77cm, and after Rembrandt, A Girl with a Broom, 64.5cm x 55cm, each in painted white frame. (6)

HENRI LAURENSRAYMOND RADIGUET: Les Pélican. Paris: Galerie Simon (1921). 32,5 x 23 cm. Mit 5 rad. Vign. (1 auf d. Umschlag) und 2 Radierungen auf Tafeln von Henri Laurens. 11 Bll. OrUmschlag mit Vign. von H. Laurens.Nr. 91 von 90 Ex. (num. 11-100; GA 112) auf Van Gelder Bütten, im Druckvermerk von Autor und Künstler signiert. - The Artist and the Book 156. Skira 194. From Manet to Hockney 62. Monod 9448. - Neben „Poèmes en Prose“ (1916) eine der ersten Arbeiten des Bildhauers Laurens als Buchillustrator, unter Kahnweilers Direktive erstellt. Kahnweiler betitelte den Kubisten Henri Laurens (1885-1954) als den größten Bildhauer seiner Zeit. Laurens Bekanntheitsgrad als Illustrator begann während und nach dem Zweiten Weltkrieg mit Illustrationen zu Ausgaben der Autoren Tzara, Eluard, Theocritus und Lucian. Er verkehrte in Kreisen George Braques und Guillaume Apollinaires, Kahnweiler wurde 1921 sein Agent. - Selten.

Édouard Manet1832 Paris - 1883 Paris - "Jeanne" - Radierung/Papier. 17 x 11,6 cm (Passepartoutausschnitt). Sign. im Druck l. u.: Manet. Passepartout. Unter Glas gerahmt. Gebräunt. Stockfleckig. - Lit.: Guerin 66.

Félix Bracquemond1833 Paris - 1914 Sevres nach Gustave Courbet - "Les Demoiselles de Village" - Kaltnadelradierung/Papier. 23,8 x 31,5 cm, 25,9 x 34,3 cm (Blattmaß). Sign. im Druck r. u.: G. Courbet. L. u. in typografischer Schrift sign.: G. Courbet sculp. M. u. bet.: Les Demoiselles de village. Mit Stempel des Sammlers l. u. Passepartout. Auf Unterlegkarton befestigt. Leicht stockfleckig. Leicht gebräunt. Auguste Joseph Bracquemond, genannt Félix Bracquemond war ein französischer Maler, Grafiker und Porzellanmaler. Mit seinen neuen Methoden der Radierung regte der mit zahlreichen impressionistischen Malern bekannte Künstler etwa Édouard Manet, Edgar Degas und Camille Pissarro an, sich dieser Technik zu bedienen.

HENRI FANTIN-LATOUR (FRENCH 1836-1904) ROSES THÉ Oil on canvas Signed and dated 74 (upper right) 44 x 39.5cm (17¼ x 15½ in.)Provenance: Private Collection, Edwin Edwards, London The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Glasgow Acquired from the above by the family of the present owner Thence by descentExhibited: Poughkeepsie, New York, Vassar College Art Gallery (now The Frances Lehmann Loeb Art Center), circa 1977-1980 (loaned by the mother of the present owner)Literature: Madame Fantin-Latour, Catalogue de l'Oeuvre complet de Fantin-Latour, Paris, 1911, p. 79, no. 722 (Titled 'Roses') The authenticity of this work has been confirmed by Brame & Lorenceau and it will be included in the forthcoming Catalogue Raisonne of the artist's paintings and pastels currently being prepared. Exquisite still life paintings such as the present work are synonymous with the work of Fantin-Latour. Initially trained by his father who was also a painter, Fantin-Latour went on to study alongside Edgar Degas and Alphonse Legros at the Ecole des Beaux Arts in Paris in the 1850s. The artistic milieu in which he was surrounded comprised Edouard Manet, Pierre-Auguste Renoir and Claude Monet amongst many others that would go on to be instrumental in the Impressionist movement. Fantin-Latour's work at this time comprised many group portraits of his contemporaries, but it was his flower compositions that brought him both critical and commercial success. James Abbott McNeil Whistler was instrumental in encouraging Fantin-Latour to visit London where, in 1862, he exhibited at the Royal Academy for the first time, finding success with a flower composition. He would go on to return and exhibit there almost every year until 1881. Whistler was also pivotal in introducing Fantin to Edwin and Ruth Edwards who would become his most important supporters and patrons, buying many of his still lifes and promoting his work to their friends. Fantin-Latour prioritised simple compositions, focussing his energy on the intricate representation of each element of the flower. The result is almost always a sumptuously rendered harmony of colour imbued with a sublime delicacy and an unparalleled attention to detail. The more complex compositions with both flowers and fruit show him to be the worth successor to Chardin and Courbet, bridging the artistic divide between Realism and Impressionism.Edward Lucie-Smith writes that 'Fantin's flower pieces have a special quality which is well summed up in Jacques-Emile Blanche's description of them: "Fantin studied each flower, its grain, its tissue, as if it were a human face". But this is true with one proviso: he looked at flowers, as he did at faces, with no perceptions. His belief, academic in origin, that technique in painting was separable from the subject to which the artist applied it, enabled him to see the blooms he painted not as botanical specimens, but as things which, though not necessarily significant in themselves, would generate significant art upon the canvas' (Henri Fantin-Latour, New York, 1977, pp. 22-23). Condition Report: Please refer to the department for a condition report on this lot.Condition Report Disclaimer

PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey

ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912.  Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer