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Jawa Manet S100 moped. 1959. 98cc. Frame No. 31205Engine No. 31205Canadian import. Key. No docs.

Manet, Edouard - - Emil Waldmann. Edouard Manet. Mit 1 farbigen Holzschnitt und 2 Originalradierungen von E. Manet sowie 50 Abb. im Text und auf Tafeln. Berlin, Cassirer, 1923. 134 S. 4°. OHPgt. mit goldgepr. DTitel, Goldfileten u. Kopfgoldschnitt (etwas angestaubt, berieben, gebräunt u. fleckig). Exemplar der Vorzugsausgabe mit den beiden Original-Radierungen "Baudelaire mit Hut" (Guérin 30 II) und "Berthe Morisot" (G. 59 II) sowie dem hübschen Farbholzschnitt auf Japan nach der "Olympia". - Innengelenke etw. angeplatzt, 1 Textbl. mit Einriss im w. Rand, 1 Seidenhemdchen knitterig, gelegentlich gering fingerfleckg, insgesamt gutes Exemplar. De luxe edition with 1 colour woodcut and 2 orig. etchings by Manet and 50 illustr. on plates and in the text. - Orig. half vellum with gilt stamped title to front board, gilt fillets and top gilt edge. - Inner hinges partly slightly cracking, 1 text leave with tear in the white margin, occ. minor finger staining, overall good copy.

Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréPETIT BOUQUET, 1891Öl auf Leinwand.42 x 33,5 cm.Links unten signiert und datiert „Fantin 91“. Verso mit mehreren Etiketten.In Louis XV-Stilrahmen.Beigegeben eine Bestätigung von Sylvie Brame, Paris, vom 16. Dezember 2020, über die Aufnahme des hier angebotenen Gemäldes in den in Vorbereitung befindlichen Catalogue Raisonné der Galerie Brame & Lorenceau, in Kopie. Auf einer knapp horizontal im Bildraum liegenden Tischplatte, deren schräger Abschluss rechts am Rand zu erkennen ist, steht eine kolbenförmige Glasvase mit Blumen verschiedener Couleur, die in ihren unterschiedlichen Ausrichtungen den Bildraum vor beigem Fond erobern. Fantin-Latour hatte mit vielen Künstlern seiner Zeit Kontakt, er lernte nicht nur Edgard Degas, Èdouard Manet, Berthe Morisot und James McNeill Whistler kennen, sondern begegnete 1859 auch Gustave Courbet, in dessen Atelier er auch arbeitete. Nachdem er 1864 in der Royal Academy of Arts in London ausgestellt hatte, waren seine Blumenarrangements sehr beliebt, auf deren Produktion er sich sich nun konzentrierte – eines davon bieten wir mit diesem Lot an, das weniger dem Impressionismus der Zeit, als viel mehr dem Realismus verpflichtet ist.Henri-Théodore Fantin-Latour war ein französischer Maler, der von seinem Vater, einem Portraitisten, ausgebildet wurde. Er setzte seine Ausbildung an der École des Beaux-Arts in Paris fort, besuchte regelmäßig den Louvre, wo er große Meister kopierte. Hier entwickelte er eine Begeisterung für die venezianische Malerei, vor allem für die von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588). Er schloss Freundschaft mit Édouard Manet (1832-1883), Berthe Morisot (1841-1895) und später mit James Abbot McNeill Whistler (1834-1903), der ihn mit nach England nahm und einer Klientel vorstellte, die sich für seine Stillleben, im Speziellen die Blumenstillleben, begeisterte. Außerdem mit dem realistischen Maler Gustave Courbet (1819-187) und den Impressionisten befreundet, behielt er nichtsdestotrotz seinen eigenen Stil und orientierte seine Malerei hin zu Gruppenportraits, wovon die berühmtesten Exemplare im Musée d’Orsay aufbewahrt werden. Später zog er sich in die Normandie nach Buré zurück und widmete sich dort fast ausschließlich seinen Blumensträußen, die er in seinem Garten pflückte.Provenienz:Mrs Edwards, London.Christie’s, London, 27. Juni 1903, Lot 77.Dort erworben von: Obach & Co., London.Privatsammlung Niederlande.Verkauft durch: S. J. Mak van Waay, Amsterdam, 15-16. April 1942, Lot 44.Hirschl & Adler Galleries, New York (erworben 1962).Mrs Augusta Clark, New York.Verkauft durch Christie’s, New York, 19. Mai 1982, Lot 13.Richard Green Gallery, London (erworben 1982).Dort erworben von Privatsammlung Niederlande.Durch Erbschaft an: Privatsammlung Niederlande.Vom Einlieferer von dort 2015 erworben.Literatur:Das hier angebotene Gemälde ist aufgeführt in: Mme Fantin-Latour, Catalogue de l’oeuvre complet de Henri Fantin-Latour, Paris 1911, Nr. 1449, S. 153 (betitelt Petit Bouquet). (1370483) (13)Henri Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréSMALL BOUQUET, 1891Oil on canvas.42 x 33.5 cm.Signed and dated lower left: ”Fantin 91“. Accompanied by a confirmation by Sylvie Brame, Paris, dated 16 December 2020 that the present painting will be included in the upcoming catalogue raisonné by Galerie Brame & Lorenceau, in copy.Literature: The painting on offer for sale in this lot is listed in Mme Fantin-Latour, catalogue de l’oeuvre complet de Henri Fantin-Latour, Paris 1911, no. 1449, p. 153 (titled Petit Bouquet).

Johan-Barthold Jongkind, 1819 Lattrop – 1891 Saint-Egrève bei GrenobleANSICHT DER WEEZENBRUG UND DES VLASMARKT IN ROTTERDAMÖl auf Holz.37,5 x 22,3 cm.Links unten signiert und datiert: 1856.In ornamental verziertem Rahmen.Diagonal in das Bildfeld hineinführender Fluss mit Wäscherinnen, Brücke und städtischer Architektur. 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:Albert Caressa, Paris.E.J. van Wisselingh & Co, Amsterdam, Inv. Nr. S3643.Auktion Sotheby’s Mark van Waay, Amsterdam, 13. Dezember 1966, lot 26.Auktion Christie’s, London, 4. Juli 1969, lot 157.Privatsammlung Großbritannien.Literatur:A. Stein, S. Brame, F. Lorenceau, J. Sinizergues, Catalogue critique de l’Oeuvre de Jongkind, Bd. 1: Peintures, Paris, 2003, S. 111, Katnr. 164.Ausstellungen und Literatur in den entsprechenden Ausstellungskatalogen:Paris, Galerie Georges Petit, J. B. Jongkind, 4. - 23. November 1921, Kat. 20.London, Kaplan Gallery, French Impressionist Paintings, 12. April - 27. Mai 1967, Kat. Nr. 8.Enschede, Rijksmuseum, Twenthe, 7. April - 23. Mai 1971, Kat. Nr. 5. (13711521) (13)Johan-Barthold Jongkind, 1819 Lattrop – 1891 Saint-Egrève near GrenobleVIEW OF THE WEEZENBRUG AND THE VLASMARKT IN ROTTERDAMOil on panel.37,5 x 22,3 cm.Signed and dated lower left: 1856.In ornamentally decorated frame.

Wunderlich, Paul (1927 Eberswalde- St.-Pierre-de-Vassols 2010) "Nach Manet", aus der Mappe "Bellevue". Farblithographie/Rives-Bütten, re. u. mit Bleistift sign. und li. u. Ex. 116/1.000. Gedruckt bei Matthieu Zürich. 51x 42 cm. PP., R.

Wunderlich, Paul (1927 Eberswalde- St.-Pierre-de-Vassols 2010) "Olympia (nach Manet)" (1977). Farblithographie, re. u. mit Bleistift sign. und li. u. nummeriert Ex. 5/100, sowie Trockenstempel, Bildmaß ca. 59x 83 cm, Blattmaß ca. 66,5x 93 cm. PP., R.

Rosita Mauri (1850-1923) cabinet photo by Benque & Co, Paris, signed to verso by Serge Lifar (1905-1986), approx 13 w x 21.5 h cms, together with a letter of provenance.  This lot includes two late 19th century French cabinet photographs - featuring Mlle Thierry, in the ballet Don Juan, photographed by L. Vasseur Paris together with another French cabinet photograph of a dancer by van Bosch Paris. (3) Note: Rosita Mauri - Spanish dancer and principal ballerina, she was much admired and featured in many ballet paintings by Edgar Degas and Edouard Manet. 

Pierre Bonnard (French, 1867-1947)Le Bain (deuxième planche), from Album des peintres lithographes de Manet à Matisse (Bouvet 92a) Lithograph in black, circa 1925, on Chine volant paper, second state of two, from the unnumbered edition of 525, printed by Atelier Duchatel, published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris, with their blindstamp (L. 1057b), the full sheet, framedImage 300 x 215mm (11 7/8 x 8 1/2in)Sheet 365 x 278mm (14 3/8 x 11in)Footnotes:ProvenanceWilliam Weston Gallery, London, whereby acquired by the present owner.For further information on this lot please visit Bonhams.com

Susie RAY (XX) Marine 1869 (after Edouard MANET 1832-1883) Oil on canvas, signed, inscribed and dated 2012 to verso, 37 x 45cm. Lay's Auctioneers are able to offer in-house postage on this lot from £32.50. For more information contact postage@davidlay.co.uk

Attributed to Tom Keating, 1917-1984, Jane Kelly as a girl, after Manet, unsigned, crayon on paper, 34 x 24cmOverall condition appears to be ok, although we have not removed it from the frame. It has the attribution on the back. It was collected from a deceased estate so we are unable to provide any provenance, although the family thought it was purchased from the artist or studio many years ago.

Philip Wilson Steer (British, 1860-1942), ‘Nursemaid’ Original Lithograph on wove paper, unsigned (1892). Framed and glazed. Fine impression of the only edition issued as a supplement to The Albemarle, 1892 edition of c.200. The only Lithograph by Wilson Steer and therefore scarce. Steer was a leading figure in the British Impressionist movement. He was rejected by the Royal Academy of Art, and so studied in Paris between 1882 and 1884, firstly at the Académie Julian, and then in the École des Beaux Arts under Alexandre Cabanel, where he became a follower of the Impressionist school. In Paris he was greatly influenced by seeing works by Édouard Manet and James McNeill Whistler and the French impressionists. Some foxing to paper. 22.5cm x 16.5cm.

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.

Alfred Wolmark, British/Polish 1877-1961 - North End, Old Hampstead; oil on panel, signed, tiled and inscribed on a sheet of paper attached to the reverse 'Alfred A Wolmark Old Hampstead (destroyed in 1940)', 36.2 x 26.2 cm (ARR) Provenance: Christie's, March 1985 (according to the label attached to the reverse); Louise Kosman, Edinburgh; private collection Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'.

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

Bell (Clive) Proust, first edition, signed presentation inscription from the author to Russian mosaicist Boris Anrep on front free endpaper, original red mottled cloth, spine label a little faded, [Woolmer 156], Hogarth Press, 1928 § Gide (André) Et Nunc Manet in te Journal Intime, Leon Edel's copy with his ownership signature to endpapers, original wrappers, Clive Bell's ownership signature on upper wrapper, splitting along joint, spine faded, 1947; together with 2 A.L.s's from Bell, one requesting seats for a lecture, the other responding to a request for him to write an article; and a detached page from a work by Bell, inscribed for Benjamin Bromberg, v.s., v.d. (5)⁂ An excellent group of Clive Bell associated material. Includes a page detached from the American edition of Old Friends, from the chapter on Maynard Keynes which Bell sent to Benjamin Bromberg who at the time had one of the largest collection of Keynes material. Bromberg wrote to Bell in 1957 with specific questions about his relation to Keynes after reading Bell's recent memoir. He asked Bell to send him a copy and requested this page be inscribed.

nach Claude Manet, "La gare Saint-Lazare"Blick aus der Bahnhofshalle auf die einfahrenden Dampflokomotiven, Kopie von Emil Fröhlich nach einem Gemälde von Claude Monet aus dem Jahre 1877, welches sich heute im Musée de´Orsay befindet, leicht pastose impressionistische Malerei, Öl auf Pappe, um 1920, auf der Rückseite bezeichnet "E. Fröhlich Copie n. Monet "La gare St. Lazare"", gerahmt, Falzmaße ca. 21,5 x 27,5 cm. Künstlerinfo: dt. Portrait- und Landschaftsmaler (1862 Leipzig bis 1950 Hohburg), Lehre als Lithograph, ab 1890 Studium an der Akademie in München bei Gabriel von Hackl und Wilhelm von Diez, Studienreisen nach Italien, Holland und Paris, stellte unter anderem auf der Großen Berliner Kunstausstellung und im Münchner Glaspalast aus, Quelle: Thieme-Becker und Matrikeln der Akademie in München.

AFTER ÉDOUARD MANET (FRENCH 1832-1883) ROSES IN A CHAMPAGNE GLASS Print multiple, 35 x 26cm Together with 3 others (4) Condition Report:Available upon request

Claude Monet (1840-1926), Sketch on Paper Signed (lower right) Image Size: 11 7/8 x 8 7/8 inches (30.3cm x 22.6cm) Claude Oscar Monet was a French impressionist painter who brought the study of the transient effects of natural light to its most refined expression. Monet was born on 1840, in Paris, but he spent most of his childhood in Le Havre. There, in his teens, he studied drawing; he also painted seascapes outside with the French painter Eugene Louis Boudin. By 1859 Monet had committed himself to a career as an artist and began to spend as much time in Paris as possible. During the 1860s he was associated with the preimpressionist painter Edouard Manet, and with other aspiring French painters destined to form the impressionist school.  WE DO NOT GIVE ANY REPRESENTATION, WARRANTY, OR GUARANTEE OR ASSUME ANY LIABILITY OF ANY KIND IN RESPECT OF ANY LOT WITH REGARD TO MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, QUALITY, CONDITION, ATTRIBUTION, AUTHENTICITY, RARITY, IMPORTANCE, MEDIUM, PROVENANCE, EXHIBITION HISTORY, LITERATURE, OR HISTORICAL RELEVANCE.

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

THREE BOXES OF BOOKS ON ART, to include seven Beaverbrook Newspapers Limited publications with prints of the works of Modigliani, Bosch, Van Gogh, Rubens, El Greco, Renoir and the Impressionists, 'coffee table' type book titles including Ocean Art, Manet, Symbolism, A History of Art, Vesalius, other titles include the works of Dali, Canaletto, Michaelangelo, Rousseau and others

Claude Monet, born on November 14, 1840, in Paris, France, was a renowned French painter and a key figure in the Impressionist movement. He is widely celebrated for his revolutionary approach to capturing the effects of light and color in his artwork. Monet's early artistic training took place in Le Havre, where he developed a passion for plein air (outdoor) painting. His interest in capturing the changing qualities of light and atmosphere led him to experiment with loose brushwork and the use of vibrant colors. Alongside fellow artists such as Pierre-Auguste Renoir, Édouard Manet, and Edgar Degas, Monet founded the Impressionist movement in the 1870s. The term "Impressionism" derived from Monet's famous painting "Impression, Sunrise," which showcased his distinctive style and approach to capturing fleeting moments and atmospheric conditions. Monet's subjects often included landscapes, seascapes, gardens, and natural scenes. He frequently depicted his own garden at Giverny, where he lived for many years. Monet's focus on capturing the ever-changing qualities of light and color led to series paintings, where he would depict the same subject at different times of the day or different seasons. His brushwork, characterized by loose and visible strokes, aimed to capture the essence and atmosphere of a scene rather than focusing on precise details. Monet's use of vibrant colors and his ability to depict the play of light on surfaces created a sense of movement and vitality in his paintings. Throughout his career, Monet's work evolved, and he continued to push the boundaries of his artistic style. His later series, such as the Water Lilies and Rouen Cathedral, showcased his mastery of capturing the nuances of light and the essence of his subjects. Claude Monet's impact on the art world cannot be overstated. His innovative techniques and dedication to capturing the ever-changing world around him laid the foundation for modern art movements. Today, his works are celebrated and admired for their beauty, vibrancy, and ability to evoke emotion. As one of the most influential artists in history, Monet's paintings continue to be exhibited in major art museums worldwide, attracting countless admirers who are captivated by his unique vision and artistic genius.Measures 7.02 x 10.01 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

Claude Monet, born on November 14, 1840, in Paris, France, was a renowned French painter and a key figure in the Impressionist movement. He is widely celebrated for his revolutionary approach to capturing the effects of light and color in his artwork. Monet's early artistic training took place in Le Havre, where he developed a passion for plein air (outdoor) painting. His interest in capturing the changing qualities of light and atmosphere led him to experiment with loose brushwork and the use of vibrant colors. Alongside fellow artists such as Pierre-Auguste Renoir, Édouard Manet, and Edgar Degas, Monet founded the Impressionist movement in the 1870s. The term "Impressionism" derived from Monet's famous painting "Impression, Sunrise," which showcased his distinctive style and approach to capturing fleeting moments and atmospheric conditions. Monet's subjects often included landscapes, seascapes, gardens, and natural scenes. He frequently depicted his own garden at Giverny, where he lived for many years. Monet's focus on capturing the ever-changing qualities of light and color led to series paintings, where he would depict the same subject at different times of the day or different seasons. His brushwork, characterized by loose and visible strokes, aimed to capture the essence and atmosphere of a scene rather than focusing on precise details. Monet's use of vibrant colors and his ability to depict the play of light on surfaces created a sense of movement and vitality in his paintings. Throughout his career, Monet's work evolved, and he continued to push the boundaries of his artistic style. His later series, such as the Water Lilies and Rouen Cathedral, showcased his mastery of capturing the nuances of light and the essence of his subjects. Claude Monet's impact on the art world cannot be overstated. His innovative techniques and dedication to capturing the ever-changing world around him laid the foundation for modern art movements. Today, his works are celebrated and admired for their beauty, vibrancy, and ability to evoke emotion. As one of the most influential artists in history, Monet's paintings continue to be exhibited in major art museums worldwide, attracting countless admirers who are captivated by his unique vision and artistic genius.Measures 9.25 x 8.25 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

Claude Monet, born on November 14, 1840, in Paris, France, was a renowned French painter and a key figure in the Impressionist movement. He is widely celebrated for his revolutionary approach to capturing the effects of light and color in his artwork. Monet's early artistic training took place in Le Havre, where he developed a passion for plein air (outdoor) painting. His interest in capturing the changing qualities of light and atmosphere led him to experiment with loose brushwork and the use of vibrant colors. Alongside fellow artists such as Pierre-Auguste Renoir, Édouard Manet, and Edgar Degas, Monet founded the Impressionist movement in the 1870s. The term "Impressionism" derived from Monet's famous painting "Impression, Sunrise," which showcased his distinctive style and approach to capturing fleeting moments and atmospheric conditions. Monet's subjects often included landscapes, seascapes, gardens, and natural scenes. He frequently depicted his own garden at Giverny, where he lived for many years. Monet's focus on capturing the ever-changing qualities of light and color led to series paintings, where he would depict the same subject at different times of the day or different seasons. His brushwork, characterized by loose and visible strokes, aimed to capture the essence and atmosphere of a scene rather than focusing on precise details. Monet's use of vibrant colors and his ability to depict the play of light on surfaces created a sense of movement and vitality in his paintings. Throughout his career, Monet's work evolved, and he continued to push the boundaries of his artistic style. His later series, such as the Water Lilies and Rouen Cathedral, showcased his mastery of capturing the nuances of light and the essence of his subjects. Claude Monet's impact on the art world cannot be overstated. His innovative techniques and dedication to capturing the ever-changing world around him laid the foundation for modern art movements. Today, his works are celebrated and admired for their beauty, vibrancy, and ability to evoke emotion. As one of the most influential artists in history, Monet's paintings continue to be exhibited in major art museums worldwide, attracting countless admirers who are captivated by his unique vision and artistic genius.Measures 7.76 x 10.02 Printed circa 1970sVerso is blank.Mounted to archival quality paper.

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

* Manet (Édouard, 1832-1883). Eva Gonzalès, 1870, etching on cream laid paper, laid onto card, depicting side profile of a woman's face turned to the left, some toning and discolouration to plate area, dried adhesive to edges of sheet margins, plate size 23.5 x 16 cm (9 1/4 x 6 1/4 ins), sheet size 36.4 x 27 cm (14 1/4 x 10 5/8 ins), framed and glazed (49 x 36.5 cm)QTY: (1)

Giuseppe de Nittis, Italian 1846-1884- Portrait of a lady, bust-length, wearing a star brooch; oil on canvas, signed 'De Nittis' (lower right), 51 x 39.7 cm. (unframed). Provenance: Private Collection, UK. Note: Giuseppe de Nittis is often hailed as one of the most significant Impressionist painters from Italy. Early in his career, he was associated with Telemaco Signorini (1835-1901) and the Macchiaioli, a group which, like the French Impressionists, rejected traditional Academic principles which placed history painting above landscape painting and portraiture, instead promoting an approach which embraced a greater realism informed by the practice of painting 'en plein air'. Indeed, de Nittis was a consummate portraitist who worked both in oils and pastels, with his sitters among some of the most important figures in 19th-century French culture, including Émile Zola (1840-1902), Édouard Manet (1832-1883) and Louis Duranty (1833-1880). The features of the sitter in the present work are very close to those of his wife Léontine, as can be seen, for example, in his 1882 pastel portrait entitled 'Winter Day, or Portrait of Madame de Nittis' held at the Pinacoteca Giuseppe de Nittis in Barletta, Italy. We are grateful to Professor Fausto Minervini for confirming the attribution of the present lot based on photographs, and for suggesting a date to between 1867 and 1870. 

Pierre Ernest Prins, French 1838-1913- A rural landscape with cypress trees, and buildings on a hill beyond; pastel on paper, signed 'Pierre Prins' (lower left), 29.1 x 19 cm. Provenance: Private Collection, UK. Note: Prins was closely connected with Édouard Manet (1832-1883) through his wife, Fanny Claus (1846-1877), a talented violinist who also modelled for Manet, notably featuring in his 1869 painting 'Le Balcon' [Musée d'Orsay, Paris, RF 2772]. Shortly after Manet produced his first picture in pastels in 1862, Prins also began to work in the medium, and continued to do so throughout his career. Indeed, Prins is now known principally as a pastellist, with most of his prolific output today in the collection of the Musée Carnavalet in Paris. The present work is characteristic of Prins's oeuvre, with the artist's clear outlining of forms and his use of pastel to evoke swirling skies and trees lending the work a distinctly Post-Impressionist accent. 

CHABRIER EMMANUEL: (1841-1894) French Composer and Pianist. A letter of excellent association, A.L.S., `Emmanuel Chabrier´, two pages, 8vo, La Memtrolle pas Mettray, 29th October 1888, to Paul Verlaine, In French. Chabrier writes to his friend Verlaine, and states `Mon cher Verlaine. En vous quittant l´autre jour je suis allé chez Vanier, quai St. Michel, demander ainsi que vous m´y aviez autorisé, votre volume l´Amour. On m´a répondu que l´on n´avait pas le moindre volume à me remettre´ (Translation: `My dear Verlaine. When I left you the other day, I went to Vanier's, Quai St. Michel, to ask for what you had authorized me to do, your volume l'Amour. I was told that they did not have any kind of volume to give me´) Chabrier further says `Veuillez donc, je vous prie, être assez aimable pour mettre, quand vous passerez chez ce Vanier, un mot de dédicace sur un exempl. de cet ouvrage et me le faire expédier ici, où je potasse encore pendant 6 semaines…´ (Translation: `Therefore, please be kind enough to put, when you pass by Vanier´s place, a word of dedication on a copy of this book and have it shipped to me here, where I'm still for 6 more weeks´) With blank integral leaf. Overall small foxing, otherwise G Chabrier was associated with some of the leading artists of his time, writers, poets and painters. Among his closest friends was the painter Edouard Manet. Chabrier himself collected Impressionist paintings long before they became fashionable. Léon Vanier (1847-1896) French Bookseller and Verlaine´s Editor. Chabrier refers to Verlaine´s work Amour, published in March 1888, six months before the present letter was written. 

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist painter. A.L.S., Renoir, one page, 8vo, Cagnes, 12th January 1910, to Mademoiselle Paule Gobillard, in French. Renoir writes, in part, 'Veuillez etre mon interprete aupres de votre soeur et de Julie [Manet] pour leur exprimer tous mes voeux de bonne sante. D'apres bien des lettres la sante de votre soeur me parait meilleure et j'espere que la jeunesse par la force finira par l'emporter sur la cruelle maladie. Moi je suis simplement heureux de voir que les jours vont grandir. Je n'ai pas ete malade mais pas tres entrain' (Translation: 'Please be my interpreter for your sister and Julie [Manet] to express to them all my wishes for good health. According to many letters, your sister's health seems better to me, and I hope that youth by force will end by prevailing over the cruel disease. I am simply happy to see that the days are going to grow. I was not sick but not very spirited'). With blank integral leaf. Accompanied by the original envelope hand addressed by Renoir. A charming letter from mentor to protégé. VG Paule Gobillard (1867-1946) French artist and Post-Impressionist painter who was heavily influenced by the Impressionists. Gobillard and her sister Jeannine (who married the poet Paul Valery) were the nieces of Berthe Morisot and cousin of Julie Manet. Renoir frequently implored the Gobillard sisters to model for him, and also offered them tuition.  Julie Manet (1878-1966) French painter, model and art collector who was orphaned at the age of 16 and received support from Renoir.

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

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

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.

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

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

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

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

JAKOB JOSEPH ZELGER (SWISS 1812-1885)ALPINE LANDSCAPE WITH SHEPHERD PLAYING AN ALPHORN, AND MOUNTAIN GOATS RESTINGOil on board Signed (lower right)18 x 27.5cm (7 x 10¾ in.)Provenance:Otto Buel, Lucerne, titled Panorma from Rigi KulmPurchased from the above on 27th April 1943, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Some small scattered losses across the surface. Varnish and dirt causing some discolouration throughout. Inspection under UV reveals no obvious evidence of restoration or repair.  Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

WILFRIED BUCHMANN (SWISS 1878-1933)FAMILY SEATED IN A RURAL LANDSCAPE Oil on canvas Signed and dated 1912 (lower left)75 x 60.5cm (29½ x 23¾ in.)Provenance:Private Collection, Theodor Reinhart (1849-1919)Thence by descent, Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Not relined. A small dent and associated hole just below the man's hand. Patches of craquelure scattered across the surface and stretcher marks visible. Light surface dirt and yellowing varnish throughout.Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

H. MÜLLER (20TH CENTURY)STILL LIFE WITH FRUIT AND A STATUEOil on canvasSigned and dated H. Müller 31 (upper right)33 x 41cm (12 x 16 in.)Provenance:Private Collection, Oskar Reinhart (1885-1965), Winterthur, Switzerland By descent to The Hon. Mrs James Tennant Please note measurements do not include the frame unless otherwise stated. Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder.Condition Report: Some areas of fine craquelure. Light surface dirt throughout. Otherwise appears to be in original condition. Inspection under UV no obvious evidence of restoration or repair. Please note Dreweatts is not liable for damage to picture frames.Condition Report Disclaimer

MAURICE ASSELIN (FRENCH 1882-1947)RUE DES RECOLLETS, PARISOil on canvasInscribed in pencil 'M. Asselin Bar Central Rue des Recollets' (on the stretcher)64 x 98.5cm (25 x 38¾ in.)Exhibited:Moderne Galerie Zürich (label on stretcher)Please note measurements do not include the frame unless otherwise stated.Oskar Reinhart was born in Winterthur, Switzerland in 1885. His father Theodor Reinhart (1849-1919) worked as a textile merchant running Volkart Brothers, which was founded by his wife's family, and facilitated the trade of cotton across the continent mainly from India. Theodor was an active art collector and devoted to supporting the careers of promising artists. By the age of 39 Oskar, inspired by his father, retired from the family firm to focus on building his already established art collection. Reinhart travelled across Europe visiting museums and private collectors devoting his time to art patronage. Reinhart purchased villa Am Römerholz in his hometown which was to become his own private gallery to house his collection as well as his private residence. In 1940 Reinhart donated the Austrian, German and Swiss works of art from his collection to the town of Winterthur which was housed from 1951 in the Museum Oskar Reinhart, now within the Kunst Museum including pieces by Caspar David Friedrich and Adolph Menzel. The rest of the collection was bequeathed to the Swiss Confederation including his home in 1958 and this opened to the public in 1970 and is still available to visit today. The original bequest included over five hundred paintings and several thousand drawings.Reinhart was particularly drawn to French Impressionists and he enjoyed mixing old masters with modern masters arranging displays in order of form and colour rather than period. It was the focus on colour and light used by the Impressionists that sparked Reinharts' interest. Reinhart was conscious of seeking talent and artists with potential in order to support and encourage their careers. The collection on display at Am Römerholz includes works by Pierre-Auguste Renoir, Vincent Van Gogh, Edouard Manet, Paul Cezanne and Alfred Sisley amongst a selection of old masters such as Pieter Brughel the Elder. Condition Report: Canvas is unlined. Some light surface dirt. Stretcher marks slightly visible. Some rubbing around the edges. Otherwise in good original condition. Please note Dreweatts is not liable for damage to picture frames. Condition Report Disclaimer

Constantin Andréevitch Terechkovitch, 1902 Moskau – 1978 MonacoPARK IN PARISAquarell/ Bleistift auf Papier.48 x 64 cm.Rechts unten signiert „C. Terechkovitch“.Hinter Glas in dekorativem Rahmen.In einer Parkanlage, teils unter hohen Bäumen auf Korbsesseln sitzend, mehrere elegant gekleidete Damen mit Hüten sowie einige Herren. Im Vordergrund rechts eine Dame an einem schmiedeeisernen Tisch, auf dem eine Tasse steht. Sie scheinen alle einer Kapelle zu lauschen, die im Hintergrund unterhalb eines Pavillons aufspielt. Malerei in überwiegend grün-blauer differenzierter Farbgebung, bei raschem, teils breiterem Pinselstrich. Der Künstler wurde in eine europäisch orientierte russische Familie geboren. Er hatte frühen Zugang zu Privatsammlungen, wo er die Werke der französischen Avantgarte-Maler Édouard Manet (1832-1883), Henri Matisse (1869-1954), Auguste Renoir (1841-1919) und Vincent van Gogh (1853-1890) kennenlernte. Nachdem er sich entschieden hatte Maler zu werden studierte er drei Monate an der Moskauer Akademie und ging dann 1920 nach Paris, wo er sich im Kreis der Künstler vom Montparnasse niedergelassen hat und im Kreis der anderen berühmten Künstler, wie Chaim Soutine (1893-1943), Moise Kiesling (1891-1953) oder André Lanskoy (1903-1976) wirkte. 1951 hat er den Orden der Ehrenlegion erhalten. (13619822) (18)Constantin Andréevitch Terechkovitch,1902 Moscow – 1978 MonacoA PARK IN PARIS Watercolour/ pencil on paper. 48 x 64 cm.Signed “C. Terechkovitch” lower right.

Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 Buré AUBÉPINES ROSES, 1871Öl auf Leinwand. Doubliert.50 x 39 cm.Rechts oben signiert und datiert „Fantin Mai 1871“. Rückwärtige Etiketten und alte Auktionsnummern.In vergoldetem Rahmen.Vor dunklem unbestimmtem Grund ein Zweig eines rosa blühenden Weißdorns mit kleinen zarten Blüten und seinen charakteristischen gelappten sich im Spiel des Lichteinfalls den Raum bildenden Blätter. Fantin Latour hatte mit vielen Künstlern seiner Zeit Kontakt, er lernte nicht nur Edgard Degas, Èdouard Manet, Barthe Morisot und James McNeill Whistler kennen, sondern begegnete 1859 auch Gustave Courbet, in dessen Atelier er auch arbeitete. Nachdem er 1864 in der Royal Academy of Arts in London ausgestellt hatte, waren seine Blumenarrangements sehr beliebt, auf deren Produktion er sich sich nun konzentrierte – eines davon bieten wir mit diesem Los an, das weniger dem Impressionismus der Zeit, als viel mehr dem Realismus verpflichtet ist.Henri-Théodore Fantin-Latour war ein französischer Maler, der von seinem Vater, einem Portraitisten, ausgebildet wurde. Er setzte seine Ausbildung an der École des Beaux-Arts in Paris fort, besuchte regelmäßig den Louvre, wo er große Meister kopierte. Hier entwickelte er eine Begeisterung für die venezianische Malerei, vor allem für die von Tiziano Vecellio (1485/89-1576) und Paolo Veronese (1528-1588). Er schloss Freundschaft mit Édouard Manet (1832-1883), Berthe Morisot (1841-1895) und später mit James Abbot McNeill Whistler (1834-1903), der ihn mit nach England nahm und einer Klientel vorstellte, die sich für seine Stillleben, im Speziellen die Blumenstillleben, begeisterte. Außerdem mit dem realistischen Maler Gustave Courbet (1819-187) und den Impressionisten befreundet, behielt er nichtsdestotrotz seinen eigenen Stil und orientierte seine Malerei hin zu Gruppenportraits, wovon die berühmtesten Exemplare im Musée d\'Orsay aufbewahrt sind. Später zog er sich in die Normandie nach Buré zurück und widmete sich dort fast ausschließlich seinen Blumensträußen, die er in seinem Garten pflückte.Provenienz:Edwin Edwards, London.Williams & Son, London.Privatsammlung, Schottland.Privatsammlung, Großbritannien.Sotheby’s, London, 6. Mai 1959, lot 113.Frost & Reed, London (bei obiger Auktion erworben).Herbert Wilcox, London.Sale: Sotheby‘s Parke Bernet, Los Angeles, 4. Februar 1975, lot 301.Privatsammlung, New York.Anmerkung:Das Gemälde wird in das in Vorbereitung befindliche Werkverzeichnis der Galerie Brame & Lorenceau aufgenommen.Literatur:Mme Fantin-Latour, Catalogue de l‘oeuvre complet de Fantin-Latour, Paris, 1911, Nr. 528, S. 65. (1362404) (18) (†)Henri-Théodore Fantin-Latour,1836 Grenoble – 1904 BuréAUBÉPINES ROSES, 1871Oil on canvas. Relined.50 x 39 cm.Signed and dated top right “Fantin Mai 1871”. Labels and old auction numbers on the back.In gilt frame.Provenance:Edwin Edwards, London.Williams & Son, London.Private collection, Scotland.Private collection, United Kingdom.Sotheby’s, London, 6 May 1959, lot 113.Frost & Reed, London (acquired at the above sale).Herbert Wilcox, London.Sale: Sotheby’s Parke Bernet, Los Angeles, 4 February 1975, lot 301.Private collection, New York.Notes:The painting will be included in the catalogue raisonné of Fantin-Latour\'s paintings by Galerie Brame & Lorenceau now in preparation.Literature:Mme Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris 1911, no. 528, p. 65.

32 Kunstbücher, zu Künstlern wie Kiefer, Manet, Penn, etc. Gebrauchsspuren.

δ Pierre-Auguste Renoir (1841-1919)Sur la plage, à Berneval Etching with drypoint, circa 1892, from the posthumous edition, on laid paper, with full margins, plate 120 x 708mm (4 3/4 x 3in)The two seated figures are Julie Manet (daughter of Berthe Morisot and Eugene Manet), and her cousin Paulette Gobillard.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Impressionism Group of catalogues raisonnés and other reference works 1) Maneti) Denis Rouart et Daniel Wildenstein de l'Institut. Edouard Manet. Catalogue raisonné. Lausanne: Bibliothèque des arts, 1975. 2 volumes, folio, original cloth, dust jackets;ii) Edouard Manet. Graphic Works. A Definitive Catalogue Raisonné. Jean C. Harris. New York: Collectors Editions, 1970. 4to, original cloth;2) Degasi) Paul-André Lemoisne. Degas et son œuvre. New York: Garland Publishing, Inc., 1984. 5 volumes, 4to, original blue cloth, illustrated throughout with reproductions of Degas's works;ii) The Notebooks of Edgar Degas. A Catalogue of the Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections. Theodore Roeff. Newly revised edition. New York: Hacker Art Books, 1985. 2 volumes, 4to, original pictorial boards;iii) Vente atelier Edgar Degas 1918 - Vente I + II. Degas's Atelier at Auction 1918 - Sales I + II. [And:] Vente atelier Edgar Degas 1919 - Ventes III + IV. Degas's Atelier at Auction 1919 - Sales III - IV. San Francisco: Alan Wofsy Fine Arts, 1989. 2 volumes, 4to, original red boards, printed and glassine dust jackets;iv) Degas. The Complete Etchings, Lithographs and Monotypes. Jean Adhémar and Françoise Cachin. London: Thames and Hudson, 1986. 4to, original cloth, dust jacket;3) Pissarroi) Wildenstein Institute. Pissarro. Critical Catalogue of Paintings. Milan: Skir/Wildenstein Institute Publications, 2005. First edition, 3 volumes, 4to, original cloth, dust jackets, pictorial slipcase;ii) Camille Pissarro. L'œuvre gravé et lithographié ... catalogue raisonné. Loys Delteil. San Francisco: Alan Wofsy Fine Arts, 1999. 4to, original cloth, dust jacket;iii) Ludovic Rodo Pissarro et Lionelle Venturi. Camille Pissarro. Son art - son œuvre. San Francisco: Alan Wofsy Fine Arts, 1989. 2 volumes, 4to, original cloth, dust jackets;4) Moneti) Daniel Wildenstein de l'Institut. Claude Monet. Catalogue raisonné. Lausanne: Bibliothéque des arts [-Wildenstein Institute], 1979-99. Volumes 2-5 of 5, 4to, original cloth, volumes 2-4 with dust jackets and slipcases;ii) Daniel Wildenstein. Monet or the Triumph of Impressionism [volumes 2-4: Catalogue raisonné]. Cologne: Taschen/Wildenstein, 1996. 4 volumes, 4to, original cloth, slipcase, retaining original cardboard packing case with handle;5) Renoiri) Renoir. Guy-Patrice et Michel Dauberville. Catalogue raisonné des tableaux, pastels, dessins et aquarelles. Paris: Editions Bernheim-jeune, 2007-2010. Volumes 1-3 (of 5), 4to, original cloth, dust jackets;ii) Pierre-Auguste Renoir. L'œuvre gravé et lithographié ... Catalogue raisonné. Loys Delteil. Edited by Alan Hyman. San Francisco: Alan Wofsy Fine Arts, 1999. 4to, original cloth, dust jacket (small nick to rear panel);iii) Renoir. Watercolors and Pastels. Selected with an Introduction and Commentaries by François Daulte. New York: Harry N. Abrams, Inc., New York, 1959. 4to, original quarter cloth, 24 colour plates, acetate dust jacket;6) Othersi) Marie Berhaut. Gustave Caillebotte. Catalogue raisonné des peintures et pastels. Nouvelle édition revue et augmentée avec le concours de Sophie Pietrie. Paris: Wildenstein Institute, 1994. 4to, original cloth, dust jacket, slipcase;ii) Alain Clairet, Delphine Montalant, Yves Rouart. Berthe Morisot 1841-1895. Catalogue raisonné de l'œuvre peint. Montolivet: CERA-nrs éditions, 1997. 4to, original cloth, dust jacket;iii) François Daulte. Alfred Sisley. Catalogue raisonné de l'œuvre peint. Lausanne: Editions Durand-Ruel, 1959. One of 1,200 copies, 4to, original cloth, dust jacket (slightly chipped and toned)Note: Note: Facsimile reprint of the first edition of Lemoisne's definitive catalogue raisonné, originally published in four volumes in 1946-9; the Supplement (volume 5), by Philippe Brame and Theodore and Arlene Reff, is published here for the first time.

In the manner of Edouard Manet (French,1832-1883), nude study, red pastel on paper, 7x11.5ins, framed and glazed.

After Edouard Manet,French 1832-1883,Cat with flowers, 1869;etching with aquatint on Rives wove,signed in the plate,printed posthumously,image: 17 x 13 cm,(framed)Note: in Guerin 53, on page 3 of the catalogue

Hagemeister, Karl -- WiesenlandschaftÖl auf Leinwand. Um 1887.69 x 96 cm.Unten links mit Pinsel in Hellrot signiert "K. Hagemeister", verso auf dem Keilrahmen mit Kreide in Blau von fremder Hand bezeichnet "No. 31276" und mit Bleistift "Wiese I", sowie mit violettem Stempel "J. 33", rotem Stempel "J 34" und weiteren handschriftlichen Annotationen.Oft ging er schon am frühen Morgen los, um die Umgebung seines Heimatortes Werder an der Havel auf der Suche nach einem geeigneten Motiv zu durchstreifen. Die märkische Landschaft mit ihrer Stille und Einsamkeit, mit ihren Seen und Wiesen, Wäldern und Sümpfen bot ihm zahlreiche Anregungen für seine Gemälde. Hier konnte Karl Hagemeister die wechselnde Lichtwirkung zu unterschiedlichen Tages- und Jahreszeiten bestens studieren. Inspiriert von der französischen Avantgarde, vor allem von den Impressionisten um Edouard Manet, mit deren Werken er sich während eines Aufenthalts in Paris 1883/84 intensiv auseinandersetzte, hellte sich Hagemeisters Farbpalette in der Folge auf, und die dunklen Farbtöne seiner Anfänge wichen zum Ende des 19. Jahrhunderts einer frischeren, aus der unmittelbaren Wahrnehmung des Lichts gewonnenen Farbigkeit. In dieser Phase hin zur impressionistischen Naturauffassung entstand die hier vorliegende Darstellung. Noch in nahezu streng horizontalem Bildaufbau schildert Hagemeister eine im Wind sanft bewegte Wiesenlandschaft am Ufer des Schwielowsees. Nur ein leicht der Mitte entrückter kleiner Busch und die sanfte Neigung der Grashalme durchbrechen die in Schichten gegliederte Komposition. Geprägt von den französischen Vorbildern, ist der Vordergrund fast skizzenhaft wiedergegeben. Im zarten Licht der aufgegangenen Sonne erfasst Hagemeister die wild bewachsene Uferpartie, Strich für Strich in locker nebeneinandergesetzten, fein differenzierten, sommerlich hellen und dunkleren Grüntönen. Licht und Schatten werden in Form kontrastierender oder komplementärer Reflexe aufgetragen. Nach hinten öffnet sich der Blick in eine schier endlos wirkende Weite, in der Horizont und Himmel fließend ineinander übergehen. Als Freilichtmaler wollte Hagemeister die Natur in seinen Bildern erfahrbar machen. „Die Landschaft ist still, anmutig und lebt eigentlich nur durch die Stimmung, die ich immer mehr in letzter Zeit liebte. Die Stimmung ist die Trägerin des seelischen Elements der Landschaft. (…) Wenn ich mich seelisch ausdrücken wollte, zerlegte ich den Stimmungston in zwei Töne, den Licht- und den Schattenton. (…) Auf diese Weise wurde das Kolorit meiner Bilder organisch und nicht bloß geschmackvoll zusammengestimmt.“ (zit. nach Karl Hagemeister, Kleine Selbstbiographie, Werder um 1928, o.S.). Ein schriftliches Gutachten von Dr. Hendrikje Warmt, Berlin, vom 17.09.2022, liegt vor. Das Werk wird in den Nachtrag zum Werkverzeichnis der Gemälde Hagemeisters unter der Nr. G 222 aufgenommen.Provenienz: Arthur Dahlheim, Berlin (verso dessen Inv.-Nr.; die Stempel "J. 33" und "J 34" wahrscheinlich Jahresstempel der Süddeutschen Bodenkreditbank A.G.)Privatbesitz Berlin/Brandenburg (wohl in den späten 1970er Jahren erworben), seitdem in Familienbesitz - 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-Baptiste Armand Guillaumin 1841 Paris - 1927 Château de Grignon bei Orly/Marne Jardin à Janville-sur-Juine. 1886. Öl auf Leinwand. Links unten signiert. Verso auf der Leinwand mit französischem Zollstempel. Verso auf dem Keilrahmen mit alten Etiketten sowie handschriftlich nummeriert '7274'. 60 x 73 cm (23,6 x 28,7 in). • Guillaumin gehört mit Monet, Pissarro und Renoir zu den Begründern des Impressionismus. • Aus der wichtigsten Werkphase des Künstlers auf dem Höhepunkt impressionistischer Malerei. • 1886 ist Guillaumin bei der erfolgreichen Impressionisten-Schau Paul Durand-Ruels in New York vertreten, die die Bewegung international bekannt macht. • Seine Werke befinden sich in den wichtigsten internationalen Sammlungen, darunter das Muséed’Orsay, Paris, das Metropolitan Museum of Art, New York und das Museo Nacional Thyssen-Bornemisza, Madrid. Mit einem Zertifikat des Comité Guillaumin (Stéphanie Chardeau-Botteri, Dominique Fabiani, Jacques de la Béraudière), Paris, die das Werk im Original begutachtet haben. Das Werk wird in den in Vorbereitung befindlichen zweiten Band des Catalogue raisonné aufgenommen. PROVENIENZ: Privatsammlung Schweiz (vor ca. 20 Jahren aus Familienbesitz erhalten). „Die wahren Revolutionäre der Form erscheinen mit Édouard Manet, mit den Impressionisten Claude Monet, Renoir, Pissarro, Guillaumin und noch anderen. Sie haben sich vorgenommen, das Atelier, in dem sich die Maler seit so vielen Jahrhunderten verkrochen haben, zu verlassen und im Freien zu malen - eine einfache Tatsache mit weitreichenden Folgen. Im Freien ist das Licht nicht mehr einheitlich, sondern es gibt viele verschiedene Effekte, die die Wirkung der Dinge radikal verändern und diversifizieren. Dieses Studium des Lichts in seinen tausend Zerlegungen und Neuzusammensetzungen ist das, was man mehr oder weniger korrekt als Impressionismus bezeichnet, denn ein Gemälde wird von nun an zum Eindruck eines Augenblicks vor der Natur. [..] Die Herren Pissarro, Sisley und Guillaumin folgen Herrn Claude Monet, den man nun im offiziellen Salon antrifft, und sie streben danach, die Umgebung von Paris unter dem wahren Licht der Sonne wiederzugeben, ohne vor den ungewöhnlichsten Farbeffekten zurückzuschrecken.“ Emile Zola, Le naturalisme au Salon II, in: Le Voltaire, Jg. 3, Nr. 715, 19 Juin 1880, S. 3. Arman Guillaumin zählt zu den Impressionisten der ersten Stunde, die die Bezeichnung und das Programm dieser so bedeutenden Strömung im letzten Drittel des 19. Jahrhunderts etablieren. An der privat und unabhängig geführten Académie Suisse trifft er auf Cézanne und Pissarro, mit denen er 1863 vom offiziellen Salon abgelehnt wird. Die Künstler stellen daraufhin im Salon des Refusés aus, ausgerufen von Napoléon III, nachdem die offizielle Jury mit ihren Entscheidungen in die Kritik geraten war. Manet präsentiert dort sein berühmtes „Frühstück im Grünen“ (Musée d’Orsay, Paris) und Neuerungen außerhalb des akademischen Kunstbetriebes nehmen so ihren Anfang. Mit Pissarro und Cézanne malt er zu Beginn der 1870er Jahre in Pointoise und Auvers, wo der Förderer Dr. Paul-Ferdinand Gachet ein Haus zur Verfügung gestellt hatte. Von größter Bedeutung ist die erste, 1874 von der Künstlergruppe Société anonyme des artistes peintres, sculpteurs et graveurs in den Räumlichkeiten des Fotografen Nadar in Paris organisierte Ausstellung: ausgehend von Monets Gemälde „Impression, soleil levant“ prägt der Kunstkritiker Léon Leroy den zunächst despektierlich verwendeten Begriff des Impressionismus. Guillaumin nimmt in der Folge an sechs der acht bis zuletzt 1886 organisierten Ausstellungen teil, zudem ist er im Salon des Indépendants, der belgischen Libre esthétique und später dem Salon d’Automne zu sehen. Im Pariser Zirkel der Avantgarde ist Guillaumin bestens vernetzt und übt seinen Einfluss auch auf die Generation der Neoimpressionisten wie Seurat und Signac aus, die von seinen ungewöhnlich farbintensiven Gemälden begeistert sind. Signac erwirbt einige seiner Gemälde, ebenso Gauguin. Vincent van Gogh, mit dem er seit 1887 bekannt ist, empfiehlt seine Werke seinem Bruder Theo, der für die Kunsthandlung Goupil & Cie. tätig ist; aus dessen Privatsammlung fanden einige Eingang in das Van Gogh Museum, Amsterdam. Guillaumin unterstützt den Galeristen Paul Durand-Ruel bei der Vorbereitung der großen Impressionisten-Schau in New York von 1886, bei der 42 Kisten mit 300 Werken verschifft werden. Neben Monet, Renoir, Sisley und Pissarro werden Guillaumins Ansichten von Damiette in einem der Säle mit Werken von Signac und Seurat präsentiert. Im selben Jahr erfolgt die letzte der Impressionisten-Ausstellungen, wo Guillaumins Gemälde, diesmal in der Nachbarschaft Gauguins, vor allem durch ihr Kolorit herausstechen. Die oft ins purpurviolette gehende Farbgebung und die lebhafte Faktur erscheinen den Kritikern als Kaleidoskop oder Feuerwerk. Die Motive, meist die Dörfer und Landschaften im Pariser Umland wie Damiette, Ivry-sur-Sein oder Charenton dienen zum Anlass einer Befreiung der Farbe und der Faktur. In den 1890er Jahren findet er neben Durand-Ruel Aufnahme bei den renommiertesten Pariser Galerien, darunter Goupil, Bernheim-Jeune und Druet, über die seine Werke die Aufmerksamkeit bedeutender Sammler in Europa, den USA und Russland auf sich ziehen, darunter u.a. Georges Viau, Paul Gachet oder Sergej Shtshukin. [KT] Aufrufzeit: 10.06.2023 - ca. 18.19 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).

Le Sidaner, Henri -- La Maison au clair de luneLithographie auf Chinapapier. 1909. 23 x 16,3 cm (34,5 x 24,2 cm). Signiert "Le Sidaner" und mit Korrekturanweisungen für den Druck. Probedruck vor der in La Gazette des Beaux-Arts veröffentlichten Buchausgabe, mit eigenhändiger Korrektur des typographischen Textes unterhalb der Darstellung. Le Sidaner war für seine Darstellungen von Innenräumen und ruhigen Straßenszenen bekannt. Sein Stil enthielt Elemente des Impressionismus mit Einflüssen von Édouard Manet, Claude Monet und der Pointillisten. Seine nuancierten Grau- und Opaltöne trug er mit unregelmäßigen, feinen Strichen auf, um die mystische Atmosphäre seiner Motive zu verstärken. Prachtvoller, klarer Druck dieser seltenen Lithographie, mit dem wohl vollen Rand. - 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.

Manet, Edouard -- OlympiaRadierung auf Brunelle-Bütten. 1865. 8,7 x 17,8 cm (16,7 x 23,5 cm). Guérin 39 VI, Harris 53 6. Herausgegeben 1867 von E. Dentu, Paris, in der ersten Auflage der Broschüre "Edouard Manet, étude biographique et critique" von Emile Zola. Prachtvoller, kräftiger Druck von der vollendeten Platte, mit breitem Rand. - 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.

Manet, Edouard -- Le torero mort. Radierung in Schwarzbraun. 15,7 x 22,5 cm. Guérin 33 VI, Harris 55 VII. Wz. Gekröntes Lilienwappen (Fragment). Mit allen Überarbeitungen. Prachtvoller, kräftiger Abzug mit breitem Rand, an zwei Seiten mit dem Schöpfrand. Geringfügige Alters- und Gebrauchsspuren, minimal lichtrandig und fleckig, sonst tadellos und original erhalten. Beigegeben von Francisco de Goya die Radierung "Aveugle enlevé sur les cornes d'un taureau" (Harris 25). - 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.

Alfred Wolmark, Polish/British 1877-1961 - Flowers in a vase with a bowl, 1943; oil on canvas board, signed and dated on the reverse 'Alfred A Wolmark 1943', 40.3 x 30.3 cm (ARR) Provenance: Rena Behrman and thence by descent Note: Rena Behrman (1909-2017) helped to aid the escape of more than 1000 Jewish refugees from Europe to Britain during the Second World War. Items from her collection were donated to the British Museum. Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark also exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. Wolmark has been referred to as the 'father' of the Whitechapel Boys. He was the only artist to be included in both the Whitechapel Art Gallery's 1906 'Jewish Art and Antiquities Exhibition' and in David Bomberg and Jacob Epstein's 'Jewish Section' at the 1914 exhibition 'Twentieth-Century Art: A Review of Modern Movements'. 

VLADIMIR DUBOSSARSKY & ALEXANDER VINOGRADOV1964 Moskau/ 1963 MoskauKünstlerduo seit 1994Titel: "Barbe (Gold autumn)". Datierung: 2003. Technik: Öl auf Leinwand. Maße: 195 x 145cm. Bezeichnung: Signiert und datiert unten rechts: Vinogradov Dubossarsky 2003. Nochmals signiert, betitelt, datiert und bezeichnet verso: Dubossarsky V Vinogradov A BARBe. (Gold autumn) 2003 oil oN canV. Provenienz: - Galerie Michael Schultz, Berlin (lt. Einlieferer)- Privatsammlung BayernDas Künstlerduo Vladimir Dubossarsky & Alexander Vinogradov zählt zu den Superstars der Kunstszene. In einer glatten Ästhetik zeigen sie uns das Makellose einer schönen Oberfläche, die jedoch nur scheinbar verbirgt, was darunter brodelt.In ihren großformatigen Gemälden schöpfen Dubossarsky & Vinogradov aus den Massenmedien, der Werbung oder dem Hollywood-Universum. Die Künstler vergleichen die Leinwand mit dem Celluloid des Films, wo sich alles vermischen lässt. So kombinieren sie Popkultur und Kitsch mit Kunsthistorischem, sodass Madonna, Graf Dracula und nackte Playboy-Mädchen auf Picasso, Warhol oder Van Gogh treffen. Sie verknüpfen vor allem Ost und West und paaren die russische Bildsprache des sozialistischen Realismus mit westlichen Klischees.Auch "Barbie" darf in dieser Welt nicht fehlen - sie ist die Protagonistin im hier vorgestellten Werk. In Ballettpose springt sie im Tütü vor einem herbstlichen Ambiente hinauf in den Himmel und in die Baumwipfel. Das blonde Haar ist einer Ballerina gleich zurückgenommen, während Sie mit den strahlend blauen Augen den Betrachter freudig anzublicken scheint und ihn einlädt, sich mit ihr in die Lüfte zu schwingen. Ihr gestrecktes Bein wiederholt sich in der Birke und lässt sie eins werden mit der Natur, denn auch das Herbstlaub vereinnahmt Ihren Körper in einem Wirbel. Doch gegensätzlicher könnten zwei Dinge nicht sein, nichts Natürliches ist an der Kunstfigur Barbie. Sie verkörpert den Inbegriff des weiblichen Klischees, wohlgeformt von Männerfantasien. Barbie ist ein unrealistisches Schönheitsideal, eine Puppe, die mit diesen Körperproportionen nicht lebensfähig wäre. So passt sie bestens in die hybride Bildwelt der beiden Künstler, die zwischen Schein und Sein changiert.Werke von Vladimir Dubossarsky & Alexander Vinogradov wurden u.a. gezeigt in der Moskauer Tretyakov Galerie, dem Solomon R. Guggenheim Museum in New York oder auf der Biennale in Venedig. In der Sammlung des Centre Pompidou in Paris befindet sich eines ihrer imposantesten Werke: das 5 x 3 Meter große "Déjeuner sur l'herbe", eine Hommage an Manet, das die großen französischen Maler unbekleidet versammelt. Dubossarsky & Vinogradov haben Respekt vor den großen Namen der Kunstgeschichte, doch keine Angst. Erläuterungen zum Katalog

Einbände - Roland Meuter, Ascona - Edgar Allan Poe. The Raven. Le Corbeau. Traduit par Charles Baudelaire. With Linocuts by Eduard Prüssen. Köln, Donkey-Press 2000. Mit einem monogrammierten Linolschnittporträt und 18 zweifarbigen signierten Linolschnitten. Blauer Chagrinziegenlederband, Vorderdeckeldekor nach Entwurf Prüssens aus mehrfarbigen Lederapplikationen. Im gefütterten Schuber mit Lederkanten und Furnierbezug.38. Edition der Donkey-Press. - Exemplar 20 von 55, eins der KPSO-Sponsoren-Exemplare. - Eduard Prüssen wagte sich hier an einen der bedeutendsten Texte des Symbolismus, der mit den Illustrationen von Édouard Manet (1875) am Beginn des modernen Künstlerbuches stand. Texte und Linolschnitte wurden in Blau und Schwarz auf Zerkall-Bütten gedruckt. - Als Blockbuch gebunden. - Unikaler Einband mit der großen Ledercollage, Rückentitel und Kopfschnitt mit Weißgoldauflage. - Kapitalbändchen ledergefasst. - Die Tuschzeichnung auf einem vorn eingebundenen Büttenblatt signiert und datiert »2018«. - Makellos.33,0 : 20,0 cm. [42] Seiten.

Folkerts, Poppe, 1875 Norderney; Ebd. 1949 Marinemaler - Schüler von kallmorgen, Dettman und Corot und Manet in d. Academie Julien: Fischerboot auf SeeRadierung auf Bütten, in der Platte monogrammiert, unter der Abbildung rechts Bleistiftsignatur, Plattenformat 22cm x 18cm, mit Passepartout unter Glas gerahmt, Zustand 1

Paul WUNDERLICH (1927-2010) "Mappe Lithographien IV" : "Jagdpoesie" / "Nach Manet" / "Paul gut getroffen" (1983)3 Grafiken - Farblithographien auf Rives Bütten, 60 x 48 cm,rechts unten handsigniert, Edition 718/1000,Mappe mit drei Originallithographien in Farbe, Zwei Blätter etwas lichtrandig, gedruckt bei Matthieu in Zürich. Edition Volker Huber, Offenbach am Main 1983

After Manet (Contemporary) Olympia, nude female reclining on a bed, oil on canvas, initialled and gilt framed. H.84 W.140cm

Theodore Duret Histoire d'Édouard Manet et de son oeuvre. Paris, H. Floury 1902. Erste Ausgabe der wichtigen Monographie zu Edouard Manet, in der seltenen signierten Vorzugsausgabe auf Japanpapier. Auf dem weißen Vorblatt mit eigenhändiger Widmung des Autors. Das bedeutende Werkverzeichnis der Gemälde und Pastelle in 1 von 50 numerierten Exemplaren der Vorzugsausgabe auf Japanpapier, mit den Radierungen Le Gamin au chien (Guérin 27) und Olympia (Guérin 39) in 2 Zuständen. - Das weiße Vorblatt mit der signierten Widmung Theodor Durets 'A M. A. Jung souvenir amical'. EINBAND: Halbmaroquinband d. Zt. (signiert L. Pouillet) mit Buntpapierbezügen, goldgeprägtem Rückentitel und Kopfgoldschnitt (illustrierter Orig.-Umschlag eingebunden). 26,5 : 20,5 cm. - ILLUSTRATION: Mit 2 Orig.-Radierungen in 2 Zuständen, 22 Tafeln auf verschiedenen Papieren (davon 13 in 2 Zuständen) sowie zahlreichen Abbildungen. - PROVENIENZ: Fliegendes Vorsatzpapier mit Exlibris von Luigi Majno, Enkel des bekannten gleichnamigen Juristen und Politikers (1852-1915). LITERATUR: Guerin 27 und 39. - Rosenthal S. 171. - Mahé I, 810. - First edition of the important monograph on Edouard Manet, in the rare signed deluxe edition on Japanese paper. With a autograph dedication by the author on the white front page. With 2 original etchings in 2 states, 22 plates on varying paper (13 of them in 2 states) and numerous illustrations. Contemp. half morocco (signed L. Pouillet) with colored paper covers, gold embossed spine title and top gilt edge (illustrated original cover bound in). 26.5 : 20.5 cm. - Edges and spine rubbed. Inside a clean copy. Flying endpaper with bookplate by Luigi Majno. - Dieses Objekt wird regelbesteuert angeboten (R).

Wassily Kandinsky Persönliches Exemplar für Fanz Marc. -  Klänge. München, R. Piper [1913]. - Expressionistisches Meisterwerk - Eines der großen Malerbücher des 20. Jahrhunderts - Einzigartiges, persönliches Widmungsexemplar von Wassily Kandinsky für Franz Marc! 'Betrachtet man die Kläng e als buchkünstlerische Leistung, so dürfen sie ohne weiteres den Anspruch erheben, zu den bemerkenswerten illustrierten Büchern der expressionistischen Zeit zu gehören' (Lothar Lang) 'A volume of meticulous design that balances strenght and beauty' (Robert F. Johnson) Breitrandiger Druck auf Van Gelder Zonen, Titeldruck in Blauviolett und Schwarz. - 'Schon die Gestaltung der Seiten zeigt beträchtliches Können, die rhythmische Spannung zwischen Holzschnitt und genußvoll lesbarem Schriftsatz (Antiqua) ist ebenso gut durchdacht, wie die großzügige Verwendung des Unbedruckten als Blattweiß die Gestalt einer Seite verschönt. Nach den Büchern des Jugendstils ist dieses das erste aus der Zeit des Expressionismus, das in allen seinen Teilen, von der Schrift über deren Grad und Durchschuß bis zum Satzspiegel, der Illustration, dem Papier und dem Einband, einheitlich durchkomponiert ist' (Lang). 'If one surveys the long list of Expressionist illustrated books from the point of view of harmony of text, typography, and illustration, one must recognize Kandinsky's Klänge .. as a masterwork .. With the publication of Klänge, an ingenious, completely modern Expressionist book had come into beeing, one that still never fails to awaken enthusiasm in its readers and viewers' (P. Raabe in Rifkind Coll. I, 120). 'The range of Kandinsky's work is seen here, from cuts in his early style reminiscent of folk art and Jugendstil to his nonobjective designs, which have been so important in 20th century art' (Garvey). Hier vorliegend ein persönliches Widmungsexemplar des Künstlers, bei dem die Signatur und die Numerierung im Druckvermerk unterblieb, jedoch auf dem Vortitel (recte) mit eigenhändiger Widmung mit Unterschrift des Künstlers, datiert 1913: 'Meinem lieben Collegen Franz Marc - Kandinsky. München Januar 1913'. EINBAND: Orig.-Halbleinenband mit goldgeprägten Deckelvignetten und goldgeprägtem Rückentitel. 28,5 : 28,5 cm. - ILLUSTRATION: Mit 12 farbigen und 44 Schwarzweiß-Holzschnitten von W. Kandinsky. - PROVENIENZ: Seit über 20 Jahren Privatsammlung Berlin. LITERATUR: Roethel, Bücher 9 sowie 72-74, 85, 95-140, 142-146. - Dok.-Bibl. I, 282. - Jentsch 9. - Lang 164 und S. 48 ff. - Artist and the Book 138. - From Manet to Hockney 31. - Grohmann S. 413. - Vom Jugendstil zum Bauhaus 85. - Papiergesänge 24. - Rifkind Coll. II, 1368. - Castleman S. 144. - Logan Coll. 18. - One of the great masterpieces of expressionist book illustration. Remarkable und unique dedication copy by Wassily Kandinsky for Franz Marc! - 1 of 300 copies. Broad-margined print on laid paper by Van Gelder Zonen. With 12 woodcuts in colors and 44 in black and white by W. Kandinsky. Orig. half cloth with gilt-tooled vignettes and gilt lettering. - Partly slightly foxed (color plates mostly clean and hardly affected). Binding faded, partly rubbed, back cover with greater ink stain. Dieses Objekt wird regel- oder differenzbesteuert angeboten.