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Alberto Giacometti Paris sans fin. Paris, Tériade / Editions Verve 1969. - Das Paris von Alberto Giacometti, sein 'Lebens- und Arbeitsraum' - Eines der großen Pariser Künstlerbücher - Bedeutende Illustrationsfolge Giacomettis. - 'Giacometti began his epic series of 150 lithographs of his beloved Paris in 1957. They were drawn on transfer paper to allow the artist the freedom to sketch wherever he wished throughout the city.' (Robert F. Johnson) 1 von 250 numerierten Exemplaren auf kräftigem, chamoisfarbenen Vélin d'Arches, mit dem lithographierten Schriftzug des Künstlers im Druckvermerk. Druck der Lithographien im Atelier Mourlot, Paris. 'Giacomettis Leben als Künstler hat sich in Paris vollzogen. Diese Stadt bedeutete ihm eine permanente Herausforderung. Fasziniert von ihren Erscheinungsformen, ihren Tag und Nachtseiten, ihrem pulsierenden Leben, ihrer Bedrohlichkeit, findet sie in seiner Arbeit keinen eigentlichen bildlichen Niederschlag, abgesehen davon, daß sowohl seine Skulpturen als auch seine gemalten Bilder in ihrer Mehrzahl nur in Paris geistig und künstlerisch entwickelt sein können .. Ein am Boden geparkter 2 CV, eine einsam auf einem Barhocker sitzende Rückenfigur, ein leeres Lokal mit Stühlen, die um Tische gruppiert sind, ein Bett mit zurückgeschlagener Decke, eine weibliche Aktfigur in Bewegung, eine Gruppe von Akten, sie alle sind Bruchstücke, eine Art Kaleidoskop, vielgestaltig, so wie die Wirklichkeit kaum faßbar. Giacometti war sich bewußt, daß er ihr nur in winzigen, ausschnitthaften Facetten nahekommen konnte. Das am Beispiel seines Lebens- und Arbeitsraumes Paris zu demonstrieren, ist ihm in der Folge der 150 Lithographien in überzeugender Weise gelungen.' (Andreas Franzke, im Katalog Klewan) EINBAND: Lose Lagen in Orig.-Umschlag mit schwarzgeprägtem Titel, in Orig.-Leinendecke mit goldgeprägtem Rückentitel und Schuber. 43 : 33 cm. - ILLUSTRATION: Folge von 150 Orig.-Lithographien. - PROVENIENZ: Schweizer Privatsammlung, danach Hamburger Privatsammlung. LITERATUR: Lust 204-353. - From Manet to Hockney 145. - Monod 5330. - Logan Coll. 150. - Arnold 935. - Giacometti-Katalog Gal. Klewan 1997, S. 92ff. - Nicht bei Castleman. - Paris through the eyes of Alberto Giacometti, one of the famous livre d'artiste of the century. - 1 of 250 numbered copies on Vélin d'Arches, with artist's lithographed name in printer's note. Loose layers in orig. wrappers with black-tooled title, in orig. cloth boards with gilt-tooled boards and slipcase. 1 quire foxed, overall fine and clean. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Anselm Feuerbach, Der Triumph des BacchusÖl auf Leinwand. 57 x 84 cm.Signiert unten links: A. Feuerbach.ProvenienzGalerie Walter Westfeld, Wuppertal. - 404. Lempertz-Auktion, Köln, 12.-13.12.1939, Lot 93. - Slg. Wilhelm Kreis, Bad Honnef. - 2010 im Rahmen eines Restitutionsbegehrens gütliche Einigung mit den Erben nach Walter Westfeld. - 957. Lempertz-Auktion, 15.5.2010, Lot 1955. - Deutsche Privatsammlung.LiteraturEkkehard Mai: Feuerbach und die alten Meister. Aus Anlaß einer wiedergefundenen Ölskizze in Privatbesitz, in: Pantheon XLII (1984), S. 131-139. – Jürgen Ecker: Anselm Feuerbach, Leben und Werk. Kritischer Katalog der Gemälde, Ölskizzen und Ölstudien, München 1991, S. 106-107, Nr. 110, m. Abb.Paris, daran konnte es Mitte des 19. Jahrhunderts keinen Zweifel geben, war die unangefochtene Kunstmetropole Europas. Einem Kunststudenten aus der Fremde, aus der deutschen Provinz zumal, mussten die Augen übergehen angesichts der Fülle an Kunst, die ihm die Stadt bot. So verwundert es nicht, dass Anselm Feuerbach seinen dortigen Aufenthalt von 1851 bis 1853 (mit Unterbrechungen) als entscheidend betrachtete für seine künstlerische Entwicklung, nach Stationen in Düsseldorf, München und Antwerpen: „Paris ist der Wendepunkt meines Künstlerlebens, das Fundament meiner künstlerischen Bildung geworden.“ Mit diesen Worten sollte er sich später des Aufenthalts an der Seine erinnern. Er studierte im Atelier Thomas Coutures, lernte die jungen Edouard Manet und Gustave Courbet kennen, begeisterte sich für das Werk Eugène Delacroix´ und studierte im Louvre die alten Meister, die Werke von Rubens, Tizian, Giorgione und Poussin. Er finanzierte seinen Parisaufenthalt durch Portraitaufträge, die ihm seine Mutter in der badischen Heimat besorgte. Er trachtete jedoch nach Größerem, der Grande Peinture; der Aufenthalt in Paris sollten ihn „von der akademischen Schablonenkomposition zu großer Anschauung und Auffassung“ führen. Feuerbachs vor Selbstbewusstsein und Tatendrang erfülltes Selbstbildnis (Abb. 1) ist ein Zeugnis dieses in Paris entflammten künstlerischen Strebens, ebenso die vorliegende Kompositionsstudie „Der Triumph des Bacchus“, die wie das Selbstportrait um 1852/1853 in Paris entstanden ist. Die Komposition zeigt ein Bacchanal in einer Landschaft, zur Linken lagert Bacchus, von einem roten Tuch hinterfangen, von aufgetürmten Früchten flankiert. Zu Füßen des Weingottes liegen weibliche und männliche Figuren, teils nackt, teils halbbekleidet. Sie schlafen im Rausch oder erwachen gerade, pflücken Früchte von den Bäumen oder schenken sich Wein ein. Zwei dunkle Gestalten, vielleicht Satyrn, schleichen sich aus dem Gebüsch, um die im Zentrum lagernde Nackte zu begaffen. Die komplexe Komposition, das dramatische Bildlicht, das ausgewogene, zugleich aber kraftvolle Kolorit, aber auch die Gestaltung jeder einzelnen Figur ist das Produkt von Feuerbachs Studien in Paris, seine Beschäftigung mit den alten und neuen Meistern wie auch der klassischen Antike. Feuerbach verarbeitet in diesem Gemälde die Tradition des Bacchanals, die über Nicolas Poussin bis zu Tizian zurückreicht (Abb. 2) ebenso wie die Plastik der Antike, etwa den Sterbenden Gallier oder die Vatikanische Ariadne. Nicht minder wichtig waren für Feuerbach die neuen Meister: Sein Lehrer Thomas Couture bot mit seinem Monumentalgemälde „Die Römer der Verfallszeit“ (1847), das Feuerbach kopierte, ein Muster für die Darstellung eines rauschhaften Festes (Abb. 3), Delacroix´ Kolorismus lehrte ihn, kraftvolle Farben einzusetzen wie das leuchtende Rot, mit dem Bacchus als Protagonist dieses Bacchanals markiert wird. Der „Triumph des Bacchus“ ist ein Parforceritt durch die Geschichte der westlichen Kunst, all das, von dem sich Feuerbach in Paris überwältigen ließ.Mit dem Thema des Bacchanals hatte sich Feuerbach bereits in seiner Düsseldorfer Zeit befasst (Ecker, op. cit., Nr. 29, 30). Der Vergleich zwischen diesen frühen Versuchen und dem „Triumph des Bacchus“ ist frappierend und zeigt die künstlerische Reife, die Feuerbach in Paris erlangte. Wichtig war der Aufenthalt nicht nur, weil er in Paris die größten Werke der alten und neuen Meister studieren konnte. Er entwickelte in deren Angesicht ein neues Verständnis von Kunst und ein neues Selbstverständnis als Künstler – die „große Anschauung und Auffassung“, von der Feuerbach spricht und die in diesem „Triumph des Bacchus“ aus seiner Pariser Zeit ihren Ausdruck findet.Abb. 1/ Ill. 1: Anselm Feuerbach, Selbstbildnis / Self-Portrait, 1852/1853, Staatliche Kunsthalle Karlsruhe.Abb. 2/Ill. 2: Tizian, Das Bacchanal der Andrier / Titian, The Bacchanal of the Andrians, 1523-26, Madrid, Museo Nacional del Prado.Abb. 3/Ill. 3: Thomas Couture, Die Römer der Verfallszeit / The Romans of the Decadence, 1847, Paris, Musée d´Orsay.

A complete collection of fifty silver gilt “Les Chefs- D’Oeuvre De L’ Impressionnisme” medallions featuring art works by Renoir, Degas, Van Gogh, Seurat, Monet, Manet, Cezanne, Gauguin, etc. (some tarnishing) contained in original box.

John Duncan Fergusson RBA (British, 1874-1961)Portrait of Miss Anna MacDonald signed and inscribed 'J. D. Fergusson/Miss MacDonald no 70' (on the reverse)oil on canvas72 x 54cm (28 3/8 x 21 1/4in).painted c. 1904Footnotes:ProvenanceThe artist (an old label on the reverse gives Fergusson's address from 1939 until his death in 1961, so it is assumed that the work was in his possession).The Fine Art Society Ltd., London and Edinburgh, October 1974, no. 6442/22.Private collection, UK (acquired from the above); thence by descent to the present owner.ExhibitedPossibly Paris, Salon d'Automne, 1907, no. 595 (titled 'The Green Feather').London, The Fine Art Society, and Glasgow and Edinburgh, Centenary Exhibition, 1974.The present portrait sees Fergusson on the cusp of a new stage in his career. He is still exploring the possibilities of a more formal, elegant style of portraiture synonymous with Edwardian Britain, with the sitter's wonderful hat and the flashes of her white, gold, and green outfit. There is a precedent to the pose and colouring which highlight his enduring interest in the work of both Velazquez and Frans Hals. However, at this time in the studio, Fergusson is experimenting with some new techniques picked up from his first trips to the continent. Manet was Fergusson's idol here, and the many studies and paintings he made throughout this period show his adoption of Manet's style – in terms of colouring, but also fluidity of paint and brushstrokes. This is clear here when one takes a closer look at the sitter's face, hat, and breast, all of which have been captured with fast, curving strokes, the brush often heavily loaded with paint. Released not long after this painting would have been completed, in his 1905 manifesto which introduced his exhibition catalogue for the Baillie Gallery, Fergusson stated that the artist is 'trying for truth, for reality; through light.' This is a sentiment which is present throughout his long career, however here, with the strong juxtaposition between light and dark and only subtle tonal gradations in places, this core to his manifesto is perhaps most clearly evident.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

PIERRE BONNARD (FRENCH, 1867-1947)Le Bain (The Bath) with stamp 'Galerie des Peintres Graveurs Paris' (lower right) lithograph from the edition of 525 impressions, commissioned by E. Frapier, Paris, 1924. Issued for the series, Album des Peintres - Lithographes de Manet a Matisse 30 x 21.5cm Provenance William Weston Gallery, Royal Arcade, Albemarle Street, London; Private collection, UKCondition reportA little undulation to paper in upper section.Otherwise appears in generally good condition.Under glass and not examined out of frame.Not inspected under uv light.The glazing is very dirty which gives the picture a slightly yellow colour but the paper is actually whiter than this.

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. Note: Rosita Mauri - Spanish dancer and principal ballerina, she was much admired and featured in many ballet paintings by Edgar Degas and Edouard Manet. Serge was a famous Ukrainian choreographer and one of the greatest male dancers of the 20th century. He was ballet master of the Paris Opera from 1930 to 1944, and from 1947 to 1958 he devoted himself to the return of technical proficiency of the Paris Opera Ballet and also helped shape the further development of ballet worldwide.

DELACROIX, Eugene (1798-1863) -- GOETHE, J.W. v. Faust, Tragédie. Traduite en français par Albert Stapfer. Paris, Ch. Motte & Sautelet, 1828. iv, 148 pp. W. lithogr. portr. of Goethe (on china paper, mounted) & 17 lithogr. plates by E. Delacroix. Fol. Rebacked in later hcf. w. ill. of owrps. cut out and laid down. (Corners bumped/worn, inner margin second half (faintly) waterstained, more or less foxed throughout, some plates a bit browned). NOTE: First edition with illustrations by Delacroix, also the first work illustrated by a great artist with original graphics. It marks the beginning of modern book illustration, which was then further developed and led to new heights by Manet, Redon, Toulouse-Lautrec, Bonnard, and later by Chagall, Derain, Dufy, Ernst, Maillol, Miro and Picasso, a.o. "Ouvrage remarquable et typique de l'époque romantique, illustration magistrale du grand Delacroix, qui est heureusement de plus en plus estimé des bibliophiles de gout" (Carteret). - Carteret III, 270; Vicaire III, 1013-14; Delteil 57-74.

(1890 Pantin - 1967 Paris)"Longchamp 1929 - Le Grand Prix". OriginaltitelLebendige Schilderung des berühmten Galopprennens "Le Grand Prix de Paris" auf der Pferderennbahn Longchamp im Bois de Boulogne. Außer Pechaubes, der auf Darstellungen von Pferden und Pferderennen spezialisiert war, malten auch bedeutende Künstler wie Edgard Degas und Édouard Manet den "Grand Prix de Paris". Öl/Lwd.; R. u. sign.; L. u. betitelt. 46,5 cm x 55,5 cm. Rahmen. Oil on canvas. Signed and titled.

MANET, Edouard: a group of books on the great post-impressionist. Not 'populist' stuff.

*AUGUSTUS JOHN (1878-1961) 'Woman wearing a smock' a full-length portrait of Mrs Chadbourne, signed lower right, pencil on paper, 52cm x 34cm Provenance: With Arthur Tooth & Sons Ltd., Bruton Street, Mayfair, London W1. Emily Rockwell Crane Chadbourne (1871–1964) was the daughter of Richard Teller Crane and Mary Prentice Crane. Emily, well-known for art collection and philanthropy, sat on the board of governors for the Art Institute of Chicago, was a fellow in perpetuity of the Metropolitan Museum of Art in New York City, and former president of the Senate House Museum in Kingston, NY. She also had a house in London’s Mayfair and was a major lender to Roger Fry’s exhibition Manet and the Post-Impressionists at the Grafton Galleries in 1910–11.

Étienne Adolphe Moreau-Nelaton,1859 Paris – 1927 ebendaLE PROMENADE EN OMNIBUSÖl auf Leinwand.65 x 80 cm.Links unten signiert und datiert „88“.In mit stuckierter Goldleiste verziertem Rahmen.Moreau-Nelaton - ein Sammler, Maler, Historiker und Kunstkritiker - malte dieses außergewöhnliche Bild, welches, sicherlich beeinflusst von der zeitgenössischen Fotografie, einen Ausschnitt des damaligen Pariser Alltagsgeschehens zeigt. 1885 stellte Moreau-Nelaton zum ersten Mal im Pariser Salon aus, bereits hier wird offenkundig, dass er von Edouard Manet (1832-1883) und Berthe Morisot (1841-1895) beeinflusst wird.Provenienz:Sammlung Dora Castro Bayley de Freccero und Francisco F. Freccero, Montevideo Uruguay, vor 1931.Auktion Sotheby's, New York, 24.05.1995, Lot 256.Anmerkung:Wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen.Ausstellung:Exposition de peintures, 1888, Paris, Cercle des Mirlitons (ou Cercle de l'Union artistique).Exposition des oeuvres d'Etienne Moreau-Nélaton - Peintre et céramiste (1859 - 1927), Januar 1928, N°7, Paris, musée des Arts décoratifs, Pavillon de Marsan - Palais du Louvre. (13515315) (13) (†)Étienne Adolphe Moreau-Nelaton,1859 Paris – 1927 ibid.LE PROMENADE EN OMNIBUSOil on canvas.65 x 80 cm.Signed and dated “88” lower left.Framed with stuccoed gilt moulding.Provenance:Collection Dora Castro Bayley de Freccero and Francisco F. Freccero, Montevideo Uruguay, before 1931. Auction Sotheby's, New York, 24.05.1995, lot 256.Note:Will be included in the forthcoming catalogue raisonné.Exhibition:Exposition de peintures, 1888, Paris, Cercle des Mirlitons (ou Cercle de l'Union artistique).Exposition des oeuvres d'Etienne Moreau-Nélaton - Peintre et céramiste (1859 - 1927), January 1928, N°7, Paris, musée des Arts décoratifs, Pavillon de Marsan - Palais du Louvre.

Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréSTILLLEBEN MIT TRAUBEN IN EINER GLASSCHALE SOWIE EINEM KORB MIT KRÄUTERNÖl auf Leinwand.37 x 53 cm.Links oben signiert und datiert „Fantin 82“.In vergoldetem barockisierenden Rahmen.Man kann sich sehr gut vorstellen, wie Henri Fantin-Latour auf seinem Landsitz in Buré im Départment Orne in der Basse Normandie 45-jährig einen Korb mit Kräutern heim bringt um diesen – was für eine ungewöhnliche Motivkombination für Fantin-Latour! – zusammen mit einer gläsernen Schale, gefüllt mit Trauben auf Leinwand zu bannen. Das Ensemble, welches in fein differenzierten Grün- und Brauntönen vor braunem Hintergrund auf einer ebenfalls braunen Tischplatte erscheint, wirkt fast camaieuhaft. Lediglich die Lichtreflexe auf dem Glas und den prallen Trauben und auch auf dem glatten Geflecht des Korbes brechen die in sich verschwimmenden Töne auf und zeichnen so ein scharfes Bild des Dargestellten.Provenienz:Edwin Edwards, London.Kirkman, London.Brame & Lorenceau, Paris ca. 1978.Auktion Sotheby´s, London 30.06.1982, Lot 1.Jan Krugier Fine Art, New York, von dort an Privatsammlung, Kalifornien.Hirschl & Adler Galleries, Inc., New York.Privatsammlung, Kanada.Anmerkung: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.Die Galerie Brame & Lorenceau bestätigt die Authentizität des hier angebotenen Gemäldes. Es wird in das in Arbeit befindliche Werkverzeichnis Catalogue raisonné des peintures et pastels de Fantin-Latour aufgenommen.Literatur:Hardouin-Fugier, Les peintres de Natures Mortes en France au XIXe siècle, Les Éditions de l'Amateur, Paris 1998, S. 192-193 (abgebildet, irrtümlich mit Datierung '68). (1351539) (13) (†)Henri-Théodore Fantin-Latour,1836 Grenoble – 1904 BuréSTILL LIFE WITH GRAPES IN A GLASS BOWL AND BASKET OF HERBSOil on canvas.37 x 53 cm.Signed and dated “Fantin 82” top left.In gilt Baroque-style frame.Provenance:Edwin Edwards, London.Kirkman, London.Brame & Lorenceau, Paris ca. 1978.Auction Sotheby's, London 30.06.1982, lot 1.Jan Krugier Fine Art, New York, from there to aPrivate collection, California.Hirschl & Adler Galleries, Inc., New York.Private collection, Canada.Notes:The Brame & Lorenceau Gallery confirms the authenticity of the painting on offer for sale in this lot. It will be included in the Catalogue raisonné des peintures et pastels de Fantin-Latour which is currently being prepared.Literature:Hardouin-Fugier, Les peintres de Natures Mortes en France au XIXe siècle, Les Éditions de l'Amateur, Paris, 1998, pp. 192-193 (illustrated, erroneously dated '68).

MANET (EDOUARD) AND OTHERSSonnets et eaux-fortes, LIMITED TO 350 COPIES, half-title, pictorial title printed in red and black, 42 etched plates, including original prints by Manet, Millet, Corot, Doré, Jongkind, Daubigny, Seymour Haden, Victor Hugo (after), and others, tissue guards, occasional spotting, later cloth, publisher's original printed wrappers bound in, untrimmed, folio (370 x 255mm.), Paris, Alphonse Lemerre, 1869This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

‡ Rodney Lawrence (born 1950)stoneware vasetapering with squared top rim, sgraffito decorated with figures in an art gallery, a plate by Rodney Lawrence with figures in a landscape after Manet, a bowl by Peter Care, a vase by Caroline Randall and a dish,impressed seal marks, 22.8cm. high (5) ProvenanceCourcoux & Courcoux (care bowl and Randall vase), 1987.Private collection.

ALEX KATZ (B. 1927)Yvonne with Flowers 2001 signed and dated 01 on the overlapoil on linen91.6 by 167.9 cm.36 1/16 by 66 1/8 in.Footnotes:ProvenancePace Wildenstein, New York (#34446)Mira Godard Gallery, Toronto (7780)Acquired directly from the above by the present owner in 2014ExhibitedToronto, Mira Godard Gallery, Alex Katz - Paintings & Prints, 2012Executed in his signature style using pared back, bold lines and heightened, vibrant colours, Yvonne with Flowers from 2001 is a truly exceptional work of portraiture by Alex Katz, one of America's definitive painters of the 20th century. Growing up in the New York art world of the 1940s and 50s, when non-representational abstraction dominated the discourse, Katz resisted the dogma of the period and developed his own form of figuration. His direct visual vocabulary, inspired by artists such as Paul Klee, Édouard Manet and Henri Matisse, captured everyday moments from his own life and is instantly recognizable in it's cinematic and refined style. With a recent, highly acclaimed, major career retrospective at the Solomon R. Guggenheim Museum in New York, and with works included in many of the worlds most prestigious museum collections, Alex Katz's artistic vision has been a defiant voice across centuries and continents. He is one of the great American masters.Painted in 2001, and coming to auction for the very first time, Yvonne with Flowers is an elegant large-scale portrait. The sitter is Yvonne Force Villareal, Co-Founder of Art Production Fund, a non-profit organization dedicated to commissioning and producing ambitious public art projects, wife of the artist Leo Villareal and a leading figure in the Maine arts community. Close-cropped against a background of larger-than-life yellow pansies, bright pink carnations and a vivid turquoise blue sky, she gazes out at the viewer, her expression conveys a sense of intimacy and confidence whilst remaining cooly detached at the same time. Typical for the artists work, all extraneous details are stripped away, leaving only the most vital. Yvonne's expression is dispassionate, there is no context or psychological engagement leaving the viewer with an impression bordering on abstraction. In the present work, Katz defines his model's features in his distinctive wet-on-wet brushwork that forces him to finish each work in a single session. Developed from the Renaissance fresco technique of pinning paper to the canvas, and forcing dry pigment through pinholes to create an outline, Katz shapes a vivid human presence with the most minimal of means. The picture is a warm portrayal of Force Villareal, whom Katz has known since the early 1990s and who has since been one of his most painted models after his wife Ada. She features in over 20 paintings, cut-outs and prints of the artist, each depiction revealing a different facet of the sitter. The inclusion of flowers, another one of Katz's career long signature themes, gives the work a fresh springlike quality, similar to Flora in Sandro Botticelli's masterwork Primavera.Offsetting the daringly close crop of the face and flowers with a large canvas, Yvonne with Flowers is evocative of the billboards and cinema screens that influenced the artist in the 1960s. Like a movie still, projected onto a flat cinema screen, the work embodies a distinct Pop aesthetic despite the fact that Katz never saw himself as a Pop artist; if anything he was a precursor to it. Whilst at first, his works with their bold colours and strong close ups seemed to be related to the emerging Pop movement of the 1960s, Katz and his craft-based approach to painting stood apart from the preeminent artistic movements. 'Minimalism was excluding things, but my work was compression,' he told Calvin Tomkins, as for conceptual art, it was 'mostly philosophical ideas, and it comes from universities. A lot of artists don't master their craft until they're thirty-five, but you can be a first-class conceptual artist when you're eighteen' (the artist in: Calvin Tomkins, 'Alex Katz's Life in Art', newyorker.com, 27 August 2018). As for his connection to Pop Art, Katz always painted scenes from his life, friends and family members, not popular culture.Having been featured in nearly 500 group shows internationally and in over 200 solo exhibitions since 1951, Alex Katz has been honoured with numerous retrospectives around the globe. His work has been shown in some of the most prestigious museums in the world, such as the Whitney Museum of American Art, New York, the Tate, London, the Albertina Museum in Vienna and The Guggenheim in Bilbao. His recent career-spanning retrospective at the Solomon R. Guggenheim Museum in New York has been highly praised by critics and enhanced an already strong demand from collectors and institutions internationally. Yvonne with Flowers offers the opportunity to buy a stellar example of the artist's oeuvre, a wonderful addition to any art collection.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

CAROLINE WALKER (B. 1982)Cats 2005 signed with the artist's initials; signed and titled on the overlapoil on canvas 91.2 by 91.2 cm. 35 7/8 by 35 7/8 in. This work was executed in 2005. Footnotes:ProvenanceThe ScotlandArt.com Gallery, GlasgowAcquired directly from the above by the present owner in 2006Caroline Walker's paintings of interiors and women in everyday domestic scenes draw upon the timeless tradition of portraying women at work, a subject matter which has been explored in masterpieces such as The Milkmaid by Johannes Vermeer, The Cradle by Berthe Morisot and Bar at the Folies-Bergère by Édouard Manet. The intricate compositions and layers of symbolism found in Walker's paintings are a testament to the depth and sophistication with which the artist approaches the genre. The present works strike a delicate balance between complex portraiture and narrative form, as the cinematic and often suspenseful unfurling of the tableaux lend a gravitas and realism to the paintings. Her scenographic compositions that highlight the subjecthood of women's work and the unobserved moments of privation distinguishes Caroline Walker as one of the foremost Contemporary painters on the market today. Much of Walker's oeuvre reflects an interest in the themes of the private versus public, indoor versus outdoor, often portraying women alone and isolated within the confines of a private space. The architecture, furnishings and decorative objects found in her works not only add narrative context but also serve to visually delineate the space. The converging of the planes of perspective along with the high contrast in light and dark borrows from the techniques of masterpieces from the Western canon, such as The Night Watch by the Dutch Golden Age painter Rembrandt van Rijn and Nighthawks by Edward Hopper. This variety in tints, tones and shades create a filmic atmosphere and renders the scene with a subdued sense of drama and layered meanings. In Cats, the spectator becomes a voyeur, glimpsing the interior, quiet spaces of the female sitter who avoids our gaze. The ordinary bedroom scene contemporises the popular nineteenth and early twentieth century European painting subject matter of the boudoir. Semi-dressed and with her back to the viewer, a young woman brushes her hair whilst the soft light filters in from the window. The domestic ephemera under Walker's brush become symbolic mementos of the subject and offer a juxtaposition of multiple narratives alongside the constrictive nature underlying domesticity. As the sitter's facial expressions are concealed, the loose stockings on the bed, the uplifting springtime outfit and the careful curation of the subject's environment are the only signifiers of the subject's feelings and psychological mood.In A Taste of the Orient, there is a similar dichotomy between the objectification of the subject versus the anthropomorphising of the objects. The title of the painting references both the interior design of the room and Orientalist art from the nineteenth century. The subject, seemingly unaware of the audience and dimly lit, sits in stillness. The amalgamation of the large Chinese ceramic vase, Persian carpet, damask wallpaper, large stone fireplace and a pin-up image of a lady in a qipao or cheongsam dress suggests the worldliness and materialistic comfort of the room's inhabitant. However, the high level of detail accorded to the objects and the small size of the sitter suggest unrealized aspirations, and remarks on and criticises the often decorative and objectifying nature of portraits of women. Walker's works deal with the blurred boundaries between the public and the private and the often invisible nature of domestic life. Her highly technical approach to painting which includes cutaway views of the interiors and the expert handling of subtle changes in light, opacity, and textures, imparts a participatory feeling to the audience. Caroline Walker has had solo exhibitions at Kettle's Yard, Cambridge; the Midlands Art Centre, Birmingham and KM21, The Hague. Her works are in several international collections, including the KM21 Kunstmuseum, The Hague, The UK Government Art Collection, National Museum Wales, and the Pérez Art Museum Miami.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Acquaforte. Firmata Manet. Cm 27x16,5Etching. Signed Manet. 27x16.5 cm

Acquaforte in cornice. Firmata Manet. Cm 13x10Framed etching. Signed Manet. 13x10 cm

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. 

After Manet, oil on canvas, portrait of Berthe Morisot, indistinctly signed and dated, 71cm x 51cm unframed

* Manet (Edouard, 1832–1883). Le chanteur espagnol, ou Le guitarero (The Spanish Singer, or The Guitarist), 1861, etching on heavy laid paper, the 5th state (of 7), mount-stained, plate size 298 cm x 244 mm, sheet size 445 x 358 mm, hinge-mounted, framed and glazedQTY: (1)NOTE:Provenance: Sir Lawrence Gowing (1918-1991).Harris 12; McKean Fisher 11; Guérin 16.

* Manet (Edouard, 1832-1883). The Gypsies (Les Gitanos), 1862, etching on pale cream laid paper, from the Strolin edition of 100 copies published in 1905, plate size 315 x 236 mm (12 3/8 x 9 1/4 ins), with margins, framed and glazed, with printed stock label to versoQTY: (1)NOTE:Guerin 21. Harris 18.Published in Manet's Trente Eaux-fortes Originales, Paris, 1905, edited by Théodore Duret, and issued in an edition of 100 copies only.

* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and final state, with printed inscription to lower margin of the image 'Peint et Gravé par Manet 1865' and 'Imp. A. Salmon', plate size 94 x 82 mm (3 7/8 x 3 1/4 ins),sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazedQTY: (1)NOTE:Provenance: Collection of Sir Lawrence Gowing (1918-1991).Moreau-Nélaton 16; Guérin 38; Harris 61.Final published state of Manet's portrait of Baudelaire, after a photograph by Nadar.

BOOKS, BIOGRAPHY (AND OTHERS): all in very nice condition, to include works on Einstein, Darwin, Evelyn Waugh, Kingsley Amis, Manet and eight other volumes.

TWENTY FIVE ASSORTED DECORATIVE PRINTS ETC, to include reproductions of paintings on canvas, subjects and artists include George Romney 'Miss Juliana Willoughby', Giovanni Boldini 'Walk in the Park', William Gunning King 'Saturday Afternoon', Edouard Manet 'Vase of Peonies on a Small Pedestal', Bernardus Johannes Blommers ' On the Dunes', together with two Paul Attfield signed limited edition prints with an assortment of other prints etc, largest size including frame 87cm x 110cm

LOUIS HENRY DUPRAY (Sedan, 1841-Paris, 1909)."Cavalry Regiment".Oil on canvas (original canvas).Signed in the lower right corner.Size: 79 x 120 cm; 96 x 135 cm (frame).French painter, engraver and draughtsman. He specialised in military subjects and historical painting. Initially destined for a military career, Henri-Louis Dupray was forced, after an accident on horseback, to abandon this route. His interest in art developed, particularly through technical drawing, and he quickly became a pupil of the painters Léon Cogniet and Isidore Pils in Paris. From 1863 he exhibited regularly at the Salon, and from 1865 he became a member of the Society of Aquaphorists. The painter Édouard Manet was one of his circle of friends. Scenes from the French Revolution and the Napoleonic Wars predominated in Dupray's work until 1870, when more and more drawings, paintings and illustrations related to the Franco-German War of 1870 were added. He was made a Knight of the Legion of Honour in 1878. His drawings appeared several times in the French magazine Le Courrier and he was repeatedly entrusted with the role of book illustrator for various authors such as Alfred de Vigny, Henri Dupont-Delporte and Victor Hugo. Works in public collections: Bayeux, Musée Baron Gérard; Grenoble, Musée de Grenoble; Paris, Musée de l'Armée; Musée de Carnavalet; London, Musée National de l'Armée.

Collection of books mostly art including Manet, Degas, Art in the age of Queen Victoria etc

After Edouard Manet (1832-1883) - 'The Fifer', print on board, approx. 80 x 47 cm, framed

ANDRÉS LARRAGA Y MONTANER (Valtierra, Navarre, 1862 - Barcelona, 1931)."Vista de pueblo (Village View). 1993.Oil on canvas.Signed and dated in the lower left corner.Size: 75 x 151 cm; 107 x 182 cm (frame).Larraga began his artistic training in Barcelona, as a disciple of Josep Armet, a landscape painter and follower of Martí Alsina and the Barbizon school. His first works were characterised by a romantic style of landscape painting, with references to Millet. In 1886 he arrived in Paris, where he came into contact with the work of Berthe Morisot and Édouard Manet, as well as with Impressionist painting. It is not known how long the painter stayed in Paris, although it is known that he alternated his trips with stays in Barcelona, where in 1887 he took part in his first group exhibition, organised at the Sala Parés. In addition to exhibiting regularly in that gallery, he took part in the Extraordinary Fine Arts Exhibitions in Barcelona and in the National Fine Arts Exhibition in Madrid in 1922. Larraga's work is kept in the Museo Thyssen-Bornemisza and the Museo de Bellas Artes de Navarra.

Manet 1832 1883 Softback Book / Catalogue 1983 published by Editions de la Reunion des Musees Nationaux Paris some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

ÉTIENNE MOREAU-NELATON , PARIS, 1859 - PARIS, 1927 L'Omnibus Oil on canvas 62.9 x 80 cm From the top of her promontory, this elegant woman facing us adopts a perfectly symmetrical pose, with her outstretched arms resting on her horizontally placed umbrella. Seated on the bench of the upper platform of an omnibus 'à l'impériale', she occupies, static, the centre of the canvas. She is surrounded by two men, seated on the other side of the bench, offering the light touch of her jacket between their two black clothes. These gentlemen turn to converse with the lady. Relegated to the left, two other men, one in a light jacket, the other in a dark suit, also occupy the same bench. These silhouettes, with their various hats, stand out against the rosy glow of the sky in the background. The alternating shades of their clothes blend into the urban landscape, at the level of the houses on either side of the composition that form the two sides of the street. The tight framing of the scene, which reveals the influence of photography, gives a certain intimacy to this conversation, whose location on the upper platform of a bus is understood thanks to a few clues. The clear pattern of the guardrail bends to the right, suggesting the bus's staircase; a sign mentions 'Ternes', revealing its destination, while underneath, the inscriptions 'St Honoré - 33' inform us of the line it takes. However, the point of view chosen by the painter places us at the same height as the characters, as if we were on the platform of another omnibus. This painting, through its framing, photographic, its palette, restricted, and its subject, contemporary, is imbued with the avant-garde pictorial research carried out by the painters Degas or Manet, whom Moreau-Nélaton also collects.Etienne Moreau-Nélaton (1859-1927) was a French artist - painter, engraver and ceramist - but also an art historian and, finally, an immense art collector who bequeathed some one hundred paintings to the Louvre; he is thus one of the largest private donors to the French state. In the course of three donations, forty paintings by Corot were acquired by the Louvre, as well as many avant-garde works such as Le Déjeuner sur l'herbe by Edouard Manet and Les Coquelicots by Claude Monet, now in the Musée d'Orsay. Finally, he was the author of the most important monographs of his time, devoted to Delacroix, Corot, Manet and Millet. Son of the painter and ceramist Camille Moreau-Nélaton, Etienne owes his vocation as an artist to her. He began by training with the landscape artist Henri Harpignies and then with the painter and decorator Albert Maignan. This Omnibus is one of the rare works that have come down to us and offers an enlightening testimony to Moreau-Nélaton's passion for this realist painting that he loved so much that he bequeathed it to the Louvre Museum. One thinks of Manet's Balcony, where the figures stand behind the openwork railing of a balcony, or the urban subjects of Degas or Caillebotte, whose elaborate angles of view seek to capture the modernity of his time. Provenance: Sotheby's sale, New York, 24 May 1995, lot 00256. Signatur: Signed lower left

EDGAR DEGAS , PARIS, 1834 - PARIS, 1917Girl carrying flowers in her apronOil on canvas 73.3 x 55.7 cmThis girl, who steps forward with grace and restraint, sketches a slight dance step, halfway to a curtsy. With her arms stretched forward to raise her skirt, which holds a spray of flowers, she gives a glimpse of her ankles, crossed in a precarious balance. Emerging from the shadow of the background, she steps into the light as if on a proscenium. Wouldn't she, in fact, be taking a bow after a performance? The flowers would then be those of her ovation, as for a young opera star... Somewhere between a portrait and a genre scene, this painting, with its fine and lively brushstrokes, portrays an attitude of great freshness, captured on the spot. This early work foreshadows the favourite subjects that Degas would develop in his maturity and already reveals his passion for the little 'rats' of the Paris Opera, whom he undertook to paint from every angle. While there are no clues in the setting to situate the action, the dress and early age of this little girl here probably reveals a 'good family' child from the painter's entourage, captured on the occasion of a family event..Edgar Degas (1834-1917) was a French painter belonging to the Impressionist movement. Coming from a wealthy and cultured background, Degas copied the great masters at the Louvre at an early age and then undertook trips to Italy to discover the works of the Renaissance. From 1874 onwards, he regularly exhibited at the Salon des impressionnistes. In Montmartre, where he frequented the artistic avant-garde, he became friends with Edouard Manet. From the 1880s onwards, as his eyesight declined, he favoured the pastel technique, sometimes combining it with gouache or watercolour. It was during this period that he developed an interest in ballerinas, which would become one of his favourite subjects. As an opera enthusiast, he chose them as models, making them take endless poses on stage or backstage. His passion for the female body is also expressed in his other variations of 'women at the tub', a true leitmotif of his painting, where he takes a very intimate look at his models, revisiting the theme of the woman at her toilet.Work reproduced in the catalogue raisonné of M. Schulman.Signatur: Signed lower right 'Degas'

Franz von Stuck 1863 Tettenweis - 1928 München Bildnis der Tochter Mary. Um 1916. Öl auf Holz. Voss 475. Rechts unten signiert. Verso mit dem Stempel der Gebrüder Oberndorfer, München. 59,5 x 51,5 cm (23,4 x 20,2 in). Im Original-Künstlerrahmen von Irlbacher (verso zweifach mit dem Etikett). • Der Münchner 'Malerfürst' Stuck brilliert neben seinen mythologischen Szenen vor allem in der Porträtkunst. • Seine einzige Tochter Mary ist von Kindheit an eines seiner beliebtesten, am häufigsten und variantenreichsten gemalten sowie erfoglreichsten Motive. • Stuck inszeniert die 20jährige hier mit reduzierten und kraftvollen Kompositionsmitteln als elegante und kultivierte junge Dame. • Eines der letzten Bildnisse Mary Stucks vor ihrer Hochzeit mit Albert Heilmann. PROVENIENZ: Piccadilly Gallery, London (verso mit dem Etikett). Privatsammlung Großbritannien (1974 vom Vorgenannten erworben). AUSSTELLUNG: Franz von Stuck 1863-1938, Piccadilly Gallery, London, 26.3.-4.5.1974, Kat.-Nr. 18 (m.Abb.). LITERATUR: Neumeister KG, vorm. Münchener Kunstversteigerungshaus Adolf Weinmüller, München, Auktion 20.-22.6.1968, Nr. 1988 (m. Abb. Taf. 97). Franz von Stuck und die Photographie, hrsg. von Josef A. Schmoll u. a., Ausst.-Kat. Museum Villa Stuck, München 1996, Frontispiz u. Kat.-Nr. 239: Fotografische Bildnisstudie aus dem Nachlass. Mary entstammt als einzige leibliche Tochter von Franz von Stuck aus einer Liebesbeziehung mit Anna Maria Brandmaier (1875-1944), eine Serviererin im Café Luitpold und Model für die 'Sünde'. Weil aus der Ehe seit 1897 mit der vermögenden und verwitweten Mary Lindpainter (1865-1929) keine eigenen Kinder folgen, setzen sie bei Prinzregent Luitpold das Recht auf eine Adoption durch. Der Maler porträtiert seine innig geliebte Tochter über sein komplettes künstlerischen Schaffen hinweg. Sie heiratet im Jahr 1917 Albert Heilmann der Baufirma Heilmann & Littmann, die von 1914-15 die Villa und das 'Neue Atelier' errichten. Unser Bild ist eines der letzten Bildnisse seiner Tochter, da Stuck sich nach ihrer Hochzeit stattdessen vorrangig seinen Enkeln widmet. Es markiert mit Beginn des Ehelebens von Mary einen bedeutenden Wendepunkt zwischen Vater und Tochter. Das sonst junge, verspielte und in Kostümen dargestellte Kind ist in diesem Porträt eine junge Erwachsene. In seinem eigenen unverkennbaren symbolistischen Pathos zeigt Stuck seine Tochter in einer zurückhaltend selbstbewussten Position. Sie lehnt sich über eine Armlehne eines roten Stuhls, den der Künstler selbst für die Möbelausstattung der Villa Stuck entworfen hatte und auf weiteren Frauenporträts auftaucht. An ihrer elegant positionierten Hand ist ihr Verlobungsring zu erkennen. Durch Marys hervorlehnende Position entsteht zudem eine für Stuck ungewöhnliche Räumlichkeit. Die Gesamtkomposition erweckt den Eindruck einer Momentaufnahme. Tatsächlich brachte 1968 ein Zufallsfund einer erstaunlich großen Sammlung von Fotografien während einer Durchsicht des Nachlasses im Keller der Villa Stuck ans Licht, dass sich Stuck für seine Bildnisse an fotografischen Vorlagen, aufgenommen zumeist von ihm selbst oder seiner Frau Mary, bedient. Weitere Papierabzüge und Skizzen lassen das direkte Arbeiten mit den Fotografien nachvollziehen. Wie selbst die größten Maler der Zeit, in Frankreich bspw. Degas und Manet nutzte er die Fotografie als Hilfsmittel. Trotz der hilfreichen Vorlagen legt Stuck keinen Wert auf eine fotorealistisch genaue Darstellung seiner Modelle, sondern fokussiert sich vielmehr auf die malerische Eleganz und dekorative Wirkung. Deutlich wird dies indem die schlichte Halbprofilansicht von Mary auf komplizierte Detailverhaftungen verzichtet und dadurch einen Raum für eine weiche, fast liebliche Harmonie schafft. Nach symbolistisch-mystifizierender Manier lässt Stuck seine Tochter dramatisch aus einem dunklen Hintergrund, der mit ihrem Hut verschmelzen zu scheint, in ein kühleres Dämmerlicht hervortauchen. [CS] Aufrufzeit: 10.12.2022 - ca. 15.31 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).

Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréL’homme entre le Vice et la Vertu, ca. 1904Öl auf Leinwand.61 x 50,5 cm.Links unten signiert „Fantin“.In dekorativem Rahmen.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:Gustave Tempelaere.E.J. van Wisselingh & Co., Amsterdam.F. & J. Tempelaere, Paris.Privatsammlung Paris.Literatur:Victoria Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris 1911, Nr. 2131, S. 225.Dieses Werk wird im Catalogue Raisonné des peintures et pastels de Fantin-Latour abgebildet, der derzeit von der Galerie Brame & Lorenceau vorbereitet wird. Benachrichtigung über die Aufnahme in die Liste vom 3. Juli 2020 liegt in Kopie vor.Ausstellungen:Ausstellung des Ateliers Fantin-Latour, Galerie Tempelaere, Januar 1905, Paris, Nr. 79.Ausstellung der Werke von Fantin-Latour, Palais de l’Ecole Nationale des Beaux-Arts, Paris, Mai-Juni 1906, Nr. 191 ter. (1340115) (18)Henri-Théodore Fantin-Latour,1836 Grenoble – 1904 BuréL’HOMME ENTRE LE VICE ET LA VERTU, CA. 1904Oil on canvas.61 x 50.5 cm.Signed “Fantin” lower left.Provenance:Gustave Tempelaere.E.J. van Wisselingh & Co., Amsterdam.F. & J. Tempelaere, Paris.Private collection, Paris.Literature:Victoria Fantin-Latour, Catalogue de l’oeuvre complet de Fantin-Latour, Paris 1911, no. 2131, p. 225.This work is reproduced in the catalogue raisonné des peintures et pastels de Fantin-Latour currently being prepared by Galerie Brame & Lorenceau. A copy of the confirmation of its inclusion dated 3 July 2020 is enclosed.Exhibitions:Exposition de l’Atelier de Fantin-Latour, Galerie Tempelaere, January 1905, m, Paris no. 79.Exposition de l’oeuvre de Fantin-Latour, Palais de l’École Nationale des Beaux-Arts, Paris, May-June 1906, no. 191 ter.

Carl Schuch, 1846 – 1903 Bedeutender Maler der Münchner Schule.Stillleben mit Gefässen, Äpfeln und LauchzwiebelnÖl auf Leinwand. Doubliert.46,5 x 62 cm.Links unten Signatur entsprechend der genannten Bildbeispiele. Verso auf dem Keilrahmen alter handschriftlicher, angerissener Aufkleber mit alter Adresse. Ferner Auktionsetikett „im Kinsky“.Ungerahmt.Beigegeben eine Expertise von Dr. Alexander Rauch, München, August 2022.Schuch gilt als bedeutender Vertreter der Malerei der „Wiener Moderne“ als auch des Münchner Künstlerkreises. Neben anderen Motiven entwickelte er die Stilllebenmalerei zu höchster Perfektion. Dem Studium an der Wiener Akademie folgten Italienreisen. Die Freundschaft mit bedeutenden Vertretern der Münchner Schule, etwa Wilhelm Trübner oder Wilhelm Leibl, war prägend. Zusammen mit Karl Hagemeister in Frankreich setzte sich Schuch mit der Malerei Courbets und Manets auseinander. Einflüsse, die er in seinen Werken zu neuem unverwechselbarem Stil entwickelt hatte. Das Gemälde ist als typisches Beispiel seines Werkes zu sehen. Auf einer faltigen Tischdecke sind drei Gefäße angeordnet: ein tönerner Henkeltopf, eine weiße Schale und ein Teller mit leuchtend roten Äpfeln belegt. Dazwischen Lauchzwiebeln, ein Motiv, das sich auch in weiteren seiner Stillleben findet. Auffallend ist die hier gewählte Farbkomposition mit den vorherrschenden Komplementärfarben Rot und Grün sowie dem Blau im Hintergrund. Der pastose Duktus, Merkmal von Schuchs Technik, zeigt sich auch hier im Bild. Die Detailmotive finden sich auch in weiteren Gemälden (Belvedere Museum Wien). In vielen Vergleichsbeispielen hat Schuch Spargelbündel oder Lauchzwiebeln in seine Stillleben eingefügt, wie etwa das in der Lenbachgalerie München befindliche Bild von 1886/89 zeigt. Werke seiner Hand finden sich in zahlreichen bedeutenden öffentlichen wie privaten Sammlungen. Vergleichbare Werke siehe Dorn (siehe Literatur), Abbildungen ab Nr. 84, 87, 101ff. A.R.Provenienz:Ehemals Auktion „im Kinsky“ (Exp. 95707, A-Sparte 141/1, Abb. Doppelseite).Literatur Auswahl:Vgl. Gottfried Boehm, Roland Dorn, Franz A. Morat (Hrsg.), Carl Schuch. 1846-1903, Ausstellungskatalog, Sta¨dtische Kunsthalle Mannheim, 8. März.-19. Mai 1986, Städtische Galerie im Lenbachhaus, München, 11. Juni-11. August 1986, Mannheim 1986.Vgl. Eberhard Ruhmer, Der Leibl-Kreis und die Reine Malerei, Rosenheim 1986. Vgl. Frank Schmieder, Carl Schuch. Maler und Werk, Dresden 1988.Vgl. Christiane Schmieger, „Selbst sehen und selbst finden“. Carl Schuch und die Diskussion über künstlerische Wahrnehmung im 19. Jahrhundert, Diss., Köln 1993. Vgl. Brigitte Buberl (Hrsg.), Cézanne, Manet, Schuch. Drei Wege zur autonomen Kunst, München 2000.Vgl. Angelika Burger, Schuch, Carl Eduard, in: Neue Deutsche Biographie (NDB), Bd. 23, Berlin 2007. (1340141) (11)Carl Schuch,1846 – 1903Important painter of the Munich School.STILL LIFE WITH VESSELS, APPLES AND ONIONS Oil on canvas. Relined.46.5 x 62 cm.Signed lower left.Accompanied by an expert’s report by Dr Alexander Rauch, Munich, August 2022.

Cologne, Galerie Paul Maenz, 1974. Offset printed b/w, 84 x 60 cm, folded to 29.5 x 21 cm. Slight age wear to edges, but generally in good condition. Elaborates on the censorship of Haacke’s contribution to PROJEKT ’74 at the Wallraf-Richartz-Museum in Cologne. The artist traced the provenance of the museum’s recent acquisition of the Manet painting ‘A bundle of asparagus’ (1880), exposing the Nazi-era career of the donator of the work, Herman Abs, a German banker, philanthropist and chairman of the museum board. The painting was likely stolen from the previous Jewish owners.

Morisot, Berthe -- La Montagne de l'observatoire aux environs de NiceAquarell und Bleistift auf Bütten. 1889.22,2 x 26,7 cm.Unten rechts mit dem grünen Monogrammstempel "B. M".Wildenstein 773.Die Hügellandschaft mit dem Observatorium bei Cimiez in der Umgebung von Nizza zeichnet Morisot mit feinem Pinsel und flüssigem Duktus in zart abgestimmter Farbigkeit. Berthe Morisot, eine der bedeutendsten Malerinnen des späten 19. Jahrhunderts, war die erste Frau in der Gruppe der Impressionisten. Als junge Frau erhielt sie ab 1860 Malunterricht bei Camille Corot; 1874 nahm sie mit neun Werken an der ersten Impressionistenausstellung teil und war bis 1886, mit nur einer Ausnahme, an allen Ausstellungen dieser Gruppe vertreten. Im Dezember 1874 heiratete sie Eugène Manet, den Bruder Édouard Manets. Im Folgejahr wurde ihre Tochter Julie Manet geboren. Das Observatorium bei Nizza auf dem Gipfel des Mont Gros, erst kurz zuvor im Jahr 1881 errichtet, ist nicht nur wissenschaftliche Stätte, sondern auch ein Meisterwerk der Architektur, konstruiert von Charles Garnier und Gustave Eiffel. Provenienz: Privatbesitz WestdeutschlandAusstellung: Galerie Durand-Ruel, Paris 1896, Nr. 336Musée de Dieppe 1957, Nr. 71 - 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.

Hübner, Ulrich -- Im Hafen von TravemündeÖl auf Malpappe.37,5 x 48,5 cm.Unten links mit Pinsel in Dunkelgrau signiert "Ulrich Hübner".Westerhausen 127.Der Berliner Impressionist Ulrich Hübner wurde von Zeitgenossen häufig mit Edouard Manet verglichen. Er malte vor allem in Berlin, im Havelland und in den Sommern entstanden zahlreiche Hafenbilder in Hamburg, Lübeck, Warnemünde und Travemünde, wo er zwischen 1909 und 1912 seinen Hauptwohnsitz hatte. In der Galerie von Paul Cassirer waren Hübners Arbeiten seit 1901 regelmäßig in Einzelausstellungen sowie in den Gruppenausstellungen der Berliner Sezession zu sehen. - 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.

After Édouard Manet, French (1832-1883), A Bar at the Folies-Bergere, oil on canvas, a large modern reproduction painted edition, inscribed ‘Renoir’, 114cm x 146cmThis is one of Western Arts most famous realist paintings and the original is currently in the Courtauld Gallery in London. (Renoir did not paint this work and the inscribed name is incorrect)

Georges Seurat, Dans la rueÖl auf Holz. 15,6 x 24,7 cm. Gerahmt. Unbezeichnet. Rückseitig mit Bleistift bezeichnet "Dans la rue" und "No 51 Collection Mirbeau, dispersé du Durand-Ruel en Février 1919" sowie auf einem Etikett bezeichnet "NO. 56860 PICTURE". - In guter, farbfrischer Erhaltung.Dorra/Rewald 59ProvenienzStudio des Künstlers (Nachlass-Verzeichnis Nr. 26); Léon Appert (Schwager des Künstlers), Paris (bis 1900); Octave Mirbeau, Paris; Galerie Durand-Ruel, Paris, Vente Mirbeau, 24. Februar 1919, Lot 51; John Quinn, New York (bis 1926); Madame Nicol, Paris; Alfred Daber, Paris; William Weinberg, Scarsdale; Sotheby's London, Weinberg Sale, 10. Juli 1957, Lot 40; T.P. Grange, London; Sammlung Georges Page, Feldbach; Salis & Vertes (2003), Salzburg; Sammlung Corboud, Dauerleihgabe im Wallraf-Richartz-Museum - Fondation Corboud, KölnAusstellungenParis 1900 (La Revue Blanche), Georges Seurat, Kat. Nr. 19; Chicago/New York 1958 (Art Institute of Chicago/Museum of Modern Art), Seurat, Kat. Nr. 60 (rückseitig mit einem Klebezettel "Museum of Modern Art, Loan, 58.252 Grange"); Paris 1967 (Musée de l'Orangerie), Meisterwerke der Schweizer Sammlungen von Manet bis Picasso, Kat. Nr. 59, mit Abb.; Salzburg 2003 (Salis & Vertes), Bouquet d'Art. Festspielausstellung 2003, Kat. Nr. 1LiteraturGeorges Coquiot, Georges Seurat, Paris 1924, S. 247; John Quinn Collection of Paintings, Watercolors, Drawings and Sculpture, Katalog, New York 1926, S. 15 (?); César M. Hauke, Seurat et son oeuvre, 2 Bde., Paris 1961, Bd. 1, Nr. 69, Abb. S. 41; Pierre Courthion, Georges Seurat, Paris/New York 1969, S. 84; Michael Zimmermann, Seurat. Sein Werk und die kunsttheoretische Debatte seiner Zeit, Weinheim 1991, S. 126, Farbabb. 234; Die Impressionisten und ihre Nachfolger. Die Bilder der Fondation Corboud (Wallraf-Richartz-Museum & Fondation Corboud Köln, Bildhefte zur Sammlung), bearb. von Barbara Schaefer, Köln 2006, S. 32, 123, Farbabb. 22.Die farblich reizvolle Studie „Dans la rue“ ist eine der wenigen reinen Stadtlandschaften von Georges Seurat. Das bei den Impressionisten so beliebte Sujet machte das elegante Bürgertum in der von Georges-Eugène Haussmann modernisierten Stadt Paris zum alleinigen Bildthema. Von einem leicht erhöhten Standort, vielleicht aus dem Atelier am belebten Boulevard de Clichy, nahm Seurat die über die Straße flanierenden Passanten in den Blick. Mit dem berühmten Stadtbild „Regen in Paris“ (1877) von dem französischen Stadtmaler Gustave Caillebotte vergleichbar, entwarf auch Seurat zwei voneinander differenzierte Bildräume, links ein breites Trottoir mit sechs teils kühn angeschnittenen Passanten und rechts das Erdgeschoss eines Geschäfts mit großem Schaufenster. Im Schatten einer langen Markise steht lässig ein Mann in langem Mantel und Hut. Für die Figuren griff Seurat auf seine zahlreichen Bleistiftskizzen männlicher und weiblicher Flaneure zurück, die er von 1882 bis 1884 meist nur als Silhouetten anlegte. Farblich bewegt sich die Studie in einer Skala von Blau- und hellen Brauntönen. Gekonnt markierte Seurat einen Hemdsärmel mit vier Pinselzügen reinen Deckweißes. Georges Seurat gilt als der eigentliche Erfinder der pointillistischen Maltechnik, bei der die reine Farbe in meist winzigen Punkten aufgetragen wird und sich erst auf Entfernung im Auge des Betrachters mischt. Bei den kleinformatigen Ölstudien wie dieser, auch „Croquetons“ genannt, war diese Technik noch nicht ausgereift. Vielmehr dienten ihm diese Studien zur Erprobung des kleinteiligen Farbauftrags und zur Vorbereitung für so ambitionierte Werke wie „Un dimanche après-midi à la Grande Jatte“ von 1884-1886.

Max Slevogt, Haus in Godramstein - Wolfgang mit ZiegeÖl auf Leinwand. 75,6 x 62,1 cm. Gerahmt. Unten rechts schwarz bezeichnet 'Godramstein 1909'. - In sehr schöner, farbfrischer Erhaltung. Geringfügige Abreibungen an den Bildrändern.Imiela 1968, S. 393 Anm. 13Das Gemälde wird in der handschriftlichen Bilderliste des Künstlers mit der Nummer 240 geführt.Wir danken Karoline Feulner, Max Slevogt-Forschungszentrum, GDKE, Landesmuseum Mainz für ergänzende Informationen.ProvenienzBis 1932 im Besitz des Künstlers; Math. Lempertz'sche Kunstversteigerung 528, Köln, 25.11.1972, Lot 822; Privatsammlung RheinlandAusstellungenBerlin 1928 (Preußische Akademie der Künste), Max Slevogt - Gemälde, Aquarelle, Pastelle, Zeichnungen - zu seinem 60. Geburtstage, Kat. Nr. 78 mit Abb.LiteraturDie Kunst XXVII, 1926, Abb. S. 331; Kunst und Künstler XXVII, 1929, Abb. S. 9; Berthold Roland, Max Slevogt. Pfälzische Landschaften, München 1991, S. 96, mit Abb.Bei strahlendem Sonnenschein stehen wir mit dem Maler Max Slevogt auf der Einfahrt zum klassizistischen Landhaus seiner Schwiegereltern im pfälzischen Godramstein. Links wird das prächtige Anwesen, das sogenannte „Schlössl“, sichtbar, das Slevogts Schwiegervater Peter Finkler, ein Unternehmer aus der Zigarren- und Tabakindustrie, hatte bauen lassen. Das herrschaftliche Gebäude ist von der Seite erfasst, so dass der von Pfeilern getragene Balkon und der über drei Stufen zu erreichende Haupteingang sichtbar werden. Der nur angeschnitten erkennbare Park rechts umfasste einen gepflegten Weingarten, dessen breiter Weg auf die Mittelachse des Gebäudes zulief. Als Blickpunkt auf der Einfahrt diente Slevogt sein 1908 geborener Sohn Wolfgang in einem Handkarren und begleitet von einer Ziege. Die zwei spielenden Katzen auf den Stufen dürften Slevogts eigenen Vorlieben für diese Tiere geschuldet sein. Mit kürzeren und längeren Strichen, mit Tupfen und teils pastosen Flecken in hellem Rosé, golden schimmerndem Beige und allen Nuancen von Grün ist hier ein herrlicher Sommertag in Slevogts Wahlheimat der Pfalz wiedergegeben. Von 1909 bis 1913 verbrachte Slevogt die Sommermonate regelmäßig in Godramstein, der Heimat seiner Frau Antonie. Das Leben in der kleinen Ortschaft in gepflegter landschaftlicher Umgebung bot Slevogt eine willkommene Abwechslung zum geschäftigen Treiben in Berlin, wo er seit 1901 lebte und mit zunehmendem Erfolg auch arbeitete. In erster Linie nutzte Slevogt die pfälzische Sommerfrische zur Entwicklung seiner Landschaftsmalerei, die in Bildern der Umgebung des Hauses, des Parks und der angrenzenden Orte ihren Niederschlag fand. Erst in dieser Zeitspanne um 1909/1910 löste er sich endgültig von der erlernten, dunkeltonigen Farbigkeit und entwickelte unter dem Eindruck von Édouard Manet, dessen Bilder er aus dem Kunstsalon von Paul Cassirer kannte, eine farbintensive und expressive Landschaftskunst.

Zdzisław Majrowski - Constantin Meyro (Polish b. 1952)Au Pair (The Housemaid), 2008Oil on canvasSigned to the bottom leftFramed165 x 109 cm (65 x 43 in)Zdzisław Majrowski - Constantin Meyro is an outstanding representative of Polish contemporary art. European painter of the middle generation. A brilliant continuator of Paul Cezanne (Russian constructivists and Franz Kokoschka). He is an artist whose work is a continuation of the works of masters such as Frans Hals, Diego Velasquez and Manet. Huge diligence and masterfully mastered workshop clearly define the artist's output. His uncompromising attitude and perfectionism are the main components of his unique painting.

Graphik -- Ca. 46 Blatt des 15.-19. Jh.Darunter von und nach: Basan, Callot, Daumier, Delaunois, Dürer, van Dyck, Galle, Goya, Hopfer, Leyden, Londonio, Manet, Marieschi, Rembrandt, Sadeler, Valez, Waterloo. - 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: (1832-1883) French Painter. An excellent A.L.S., `Ed Manet´, two pages, small 8vo, n.p., Monday, n.d., to Monsieur Martinet, in French. Manet refers to his correspondent´s affair and explains what he has done to help him, stating `Mon cher Martinet, J´ai vu Proust ce matin - allez le voir vendredi entre 10h et 11h de la matinée, il y a reunion du conseil Supérieur Samedi, il parlera de votre affaire au ministre, en attendant vous lui expliquerai votre affaire et j´espère que vous réussirez´ (“My dear Martinet, I met Proust this morning - go see him Friday between 10 and 11 a.m., there is a meeting of the Superior Council on Saturday, he will talk about your case to the Minister, in the meantime you will explain your case to him and I hope that you will succeed”) With blank integral leaf. VG Antonin Proust (1832-1905) French Politician and Journalist. Deputy and Minister of the fine arts in the Leon Gambetta´s government. A lifelong friend of Manet. Proust founded an anti-imperialist journal and worked as war-correspondent. 

ARTHUR BRUSENBAUCH* (Preßburg 1881 - 1957 Abtsdorf am Attersee)Sitzender Akt, um 1919Öl/Leinwand, 100 x 120 cmProvenienz: Nachlass des Künstlers; Wienerroither & Kohlbacher Wien, 2009; Internationale PrivatsammlungSCHÄTZPREIS °€ 10.000 - 15.000STARTPREIS € °€ 10.000Der österreichische Maler, Freskenmaler und Grafiker Arthur Brusenbauch wird gemeinhin dem Spätimpressionismus zugerechnet. Er lernte bei Johann Kautsky und war hernach als Bühnendekorationsmaler tätig. Brusenbauch studierte in Wien an der Staatsgewerbeschule und der Akademie der bildenden Künste, unterbrochen von Kriegsdienst und Gefangenschaft. Im Jahr 1920 wurde er Mitglied der Wiener Secession, 1939 wechselte er zum Künstlerhaus. 1928 hatte er Österreich bei den Kunstwettbewerben der Olympischen Spiele 1928 vertreten. Von 1937 bis 1941 beteiligte er sich mit sieben Ölgemälden an allen Großen Deutsche Kunstausstellungen in München. Zum Spätimpressionismus oder Post-Impressionismus werden im Allgemeinen die Richtungen Pointillismus (auch als Divisionismus bzw. Neoimpressionismus bezeichnet), Cloisonismus, Synthetismus, die Künstlergruppe der Nabis, die Schule von Pont-Aven, sowie die Werke van Goghs, Gauguins, Toulouse-Lautrecs und Cézannes gezählt. Der Befgriff Post-Impressionismus geht auf den englischen Maler und Kunstkritiker Roger Frey zurück, der ihn 1910 anlässlich der von ihm organisierten Ausstellung "Manet and the Post-Impressionists" in den Grafton Galleries, London, verwendet hatte. Dort wurden unter anderem Gemälde von Paul Cézanne, Paul Gauguin und Vincent van Gogh gezeigt. Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer von 13%, bei Fotografien 20% hinzu. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

Walasse Ting Grell und voller Lebensfreude One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. - Großartiges Malerbuch der 60er Jahre - Eine der schönsten Publikationen der Pop-Art und des abstraktem Expressionismus - Gemeinsames Künstlerprojekt von europäischer und amerikanischer Avantgarde 'Die Bibel der amerikanischen Pop-Art' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. Unter anderem im Stil des abstrakten Expressionismus, Tachismus und der Pop-Art verbinden sich hier Text und Illustration auf einfallsreiche Art. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in Schuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Privatsammlung Hamburg. LITERATUR: Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Das Buch des Künstlers 14. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, slipcase in Green. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

David Hockney The Boy who left home to learn fear, from Six fairy tales from the Brothers Grimm. (London, Petersburg Press 1969-70). Seltene Portfolio-Ausgabe des Märchens im Leporelloformat, das Titelblatt von Hockney signiert und numeriert. 1 von 100 numerierten Exemplaren auf Hodgkinson Büttenpapier mit dem Wasserzeichen 'DH PP'. - Prachtvoll gestaltetes Leporello mit Hockneys Interpretation des Grimmschen Märchens The boy who left home to learn fear . Mit den Orig.-Radierungen Home - The bell towe - The sexton disguised as a ghost - The sexton disguised as a ghost stood still as stone - Corpses on fire - The haunted castle - The carpenter's bench, a knife and fire - A black cat leaping - The lathe and fire - Inside the castle - Cold water about to hit the prince. 'Die virtuos radierten Illustrationen vermitteln in ihrer technischen Vielfalt eine Vorstellung von den Ausdrucksmöglichkeiten der Graphik als bildkünstlerischem Mittel, über die David Hockney verfügt' (Schulz) EINBAND: Lose Lagen in Leporellofaltung in Plexiglas-Kassette. 46,5 : 64 cm. - ILLUSTRATION: Mit 11 (4 ganzseitigen) Orig.-Radierungen von David Hockney. LITERATUR: Scottish Arts Council 87-97. - Schulz, Malerbücher S. 50. - Arnold Malerbuch 1097. - From Manet to Hockney 146. Rare portfolio edition, copy 54 of 100, with full margins, bound as leporello, with 11 orig. etchings (4 full page), title page and text, on Hodgkinson handmade wove paper, signed and numbered in pencil on the title page. - Wrappers with minor soiling and minim. creases, otherwise in good condition. Dieses Objekt wird regelbesteuert angeboten (R).

Attrib. Édouard Manet (French 1832-1883): Woman in a Hat, watercolour signed with initialsNotes: for composition and subject, cf. Pescheteau-Badin Paris, 15th December 2021 Lot 4; for colour palette, cf. his letter to Henri-Charles Guérard, Fondation Custodia, Collection Frits Lugt, Paris.Condition Report:Good condition, cleaned c.20 years ago

Manet, Oil on Board, 'The Wedding' - from the collection of Mark Fisher RA, Signed with label verso, 'Edouard Manet - from the collection of Mark Fisher RA', 44 x 35cm, wooden frame surround

Edouard Manet (1832 - 1883), large coloured print, framed under glass, Aitken Dott label verso, 89 x 67cm

CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin Brâncuși, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of Bœufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bœuf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the Bœufs écorch&... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

Nach Edvard ManetHenry Berengier1881 - 1943Probedruck vor der Auflage17 x 15 cm Motiv, 30 x 22 cm Blatt

Duane Michals (McKeesport/Pennsylvania 1932 – lebt in New York)ManetTuschezeichnung. Um 1970. 15,3 x 20,3 cm. SigniertEine der seltenen, im Zusammenhang einer Sequenz über Manet entstandenen Zeichnungen mit einer auch für die Photos des Künstlers charakteristischen, leicht surreal anmutenden Anordnung der einzelnen Objekte. – Auf hartem Zeichenpapier. – Im alten Passepartoutausschnitt minimal gebräunt.

WILDE (OSCAR) - JIM DINEThe Picture of Dorian Gray. A Working Script for the Stage from the Novel...with Original Images & Notes on the Text by Jim Dine, 2 vol. (including portfolio), EDITION 'A', LIMITED TO 225 COPIES WITH AN ADDITIONAL SUITE OF 6 SIGNED LITHOGRAPHS AND BOUND IN RED VELVET, from an overall edition of 565, this signed 'Edition A Jim Dine 146/200' on the colophon, 18 original lithographed plates (including the 6 additional signed plates, loose as issued in separate black velvet portfolio), publisher's red velvet with blocked out title in silver on upper cover by Rudolph Rieser of Cologne, together in original slipcase [A Century of Artist's Books, p.71; From Manet to Hockney 142], folio (445mm. x 320mm.), Petersburg Press, 1968This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

Manet, Edouard (Paris 1832 - 1883, französischer Maler und Grafiker), "Berthe Morison", Radierung auf Papier, rückseitig bezeichnet, 15 x 12 cm (PA), unter Glas gerahmt

"A. R. PENCK"; RALF WINKLER (Dresden, Germany; 1939- Switzerland, 2017)."Olympia".Mixed media on paper.Signed in the lower left corner.A. R. Penck originally created this work to form part of one of the 10 advertising posters painted by artists representing the Barcelona brand during the 1992 Olympics. However, it was censored by the Barcelona 92 Olympic Organising Committee, which considered it inappropriate due to its high degree of eroticism. It is therefore an unpublished work that represents a small part of the cultural legacy that the Olympics gave us.Size: 70 x 50 cm; 85 x 65 cm (frame).The controversy aroused by the work that we now present to the Barcelona 92 Olympic Organising Committee was due to its highly erotic nature. The fact that Penck depicted a young lady like Olympia, with her breasts exposed (multiplied by 5, each corresponding to an Olympic ring) or with two naked pubes, was reason enough to censure the work as inappropriate. It was not the first time that an Olympia had aroused controversy in art: when Édouard Manet presented his work of the same name at the Paris Salon in 1865, it was branded pornographic owing to its high degree of eroticism, causing a great stir among the critics of the time. It is striking how, despite the time difference of almost 130 years between the two works, history is repeating itself.Ralf Winkler, who also used the pseudonyms Mike Hammer, T.M., Mickey Spilane, Theodor Marx, "a. Y." or simply "Y" was a German painter, printmaker, sculptor and jazz drummer. Penck was born in Dresden, during his teenage years he began attending painting and drawing classes with Jürgen Böttcher, known by the pseudonym Strawalde, and joined him to form the renegade artists' group Erste Phalanx Nedserd, notable for its members' refusal to study at an academy. Members of the group were also denied acceptance into the GDR Association of Visual Artists. They therefore had to earn their living as labourers or craftsmen. Later he worked for a year as a trainee draughtsman at the state advertising agency in Dresden. From 1955 to 1956, Winkler was a draughtsman at the advertising agency DEWAG and from 1956, he tried to enter the Academy of Fine Arts in Dresden and the Berlin University of the Arts in East Berlin, but it was not until 1966, when Winkler became a candidate to join the Association of Fine Artists, now under the artistic pseudonym A. R. Penck. Which was elected after the geologist Albrecht Penck. From 1969 onwards he had more and more problems with the GDR Ministry of State Security. His paintings were confiscated and his acceptance into the GDR Association of Visual Artists (VBK) was refused.Winkler was one of the founding members, in May 1971, together with Steffen Terk, Wolfgang Opitz and Harald Gallasch, of the artists' group GAP, which existed until 1976. From 1973 he worked under the pseudonyms Mike Hammer and TM. After serving in the military in 1974, he was awarded the Will Grohmann Prize in 1975 by the West Berlin Academy of Arts. In 1976, Penck met the West German painter Jörg Immendorff, with whom he would collaborate in the following years. In their work they campaigned for the abolition of the German internal border, and for dissidents, among them Rudolf Bahro and Robert Havemann. From 1976, he also signed simply Y. In 1977, some of his paintings were confiscated. In May 1979, several of his works and records were destroyed during a burglary at his studio. On 3 August 1980, he was transferred to West Germany. After emigrating, Penck became one of the leading exponents of the new figuration, along with Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Their work was shown in major museums and galleries in the West throughout the 1980s. They were included in several important shows, such as the famous Zeitgeist exhibition at the famous Martin Gropius Bau Museum and the important New Art exhibition at the Tate in 1983. He first lived in Kerpen, southwest of Cologne. In 1981, the Goethe Foundation awarded him the Rembrandt Prize in Basel, Switzerland. In 1983, Winkler moved to London and received the Aachen Art Prize in 1985. In 1988 he took part in the exhibition Made in Cologne, in the same year he was appointed professor of painting at the Düsseldorf Academy of Arts.His paintings depict worlds and spaces of experience, full of symbolic abbreviations. He used stick figures and graphic icons reminiscent of cave paintings, Asian calligraphy and graffiti art. In the 1960s and 1970s, he created a series of paintings and sculptures, which he called Standarts, a combination of "standard" and "art", echoing the German word for banner or flag, Standarte, by which he meant an art form that used simple, archaic pictorial symbols, such as road signs or trademarks. In the 1980s.

George Leslie Hunter (British, 1877-1931)Tulips inscribed by Arthur Leyden 'By Leslie Hunter/about 1910' (verso)oil on canvas38.2 x 30.8 cm. (15 1/16 x 12 1/8 in.)Footnotes:ProvenanceArthur Leyden and thence by descentArthur's purchase of Tulips helped keep Hunter going as he was barely making ends meet. It would be three years before the commercial success of his first exhibition at art dealer, Alexander Reid's prestigious Glasgow gallery, La Société des Beaux-Arts in 1913.According to his friend, New York artist Tom Hunt, Hunter was in complete sympathy with all that was new after his first visit to Paris in 1903 (T.J. Honeyman, Introducing Leslie Hunter, Faber & Faber Ltd, London, 1937, pp.61-62). French modernist, Édouard Manet (1832-1883) was an early hero. Manet broke ranks from the traditional practice where layers of dark varnish were applied to the canvas to model form. On Hunter's return to Scotland in 1906, he was utilising what he understood from Manet's technique to help progress his own. In Tulips, the flowing opaque brushstrokes on a light ground applied in one go, model the form of the vase and flowers. Hunter was not concerned with the strength or effect of light on still life, a characteristic he upheld throughout his life and one which differentiates him, even from his fellow Colourists.In Tulips he focused on the simple shape and direct presence of the vase and flowers. By using sketch-like passages with occasional black outlines similar to those he observed in Manet's later still life, he animates the flowers, captures their natural state and ultimately produces a still life elevated beyond the ordinary.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

George Leslie Hunter (British, 1877-1931)Trees inscribed to board by Arthur Leyden 'Painting by/Leslie Hunter 1910/A.T. Leyden' (verso)oil on canvas, laid on board26.4 x 21.5 cm. (10 3/8 x 8 7/16 in.)Footnotes:ProvenanceArthur Leyden and thence by descentThis picture was painted three years before the commercial success of Hunter's first exhibition at art dealer, Alexander Reid's prestigious Glasgow gallery, La Société des Beaux-Arts in 1913.Thanks to Arthur Leyden, it is another rare survivor from this period, ranking in style and date with two other oils, Paris Boulevard by Night and Sunlit Avenue, Northern France (Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, plates 23 and 24 respectively). The landscape in colour, form, the river or canal and building on the left have more in common with Northern France than Scotland, which is consistent with Hunter's known whereabouts at this time. As in Tulips, French modernist, Édouard Manet (1832-1883) was an early hero. The tone and palette are similar, as is the animation and application of opaque brushstrokes, although the sweeping application in Tulips has given way to shorter strokes.Interestingly, the observations Hunter makes twelve years later in his notebook (datable to circa 1920-1923) about what he fully understands from the art of Paul Cézanne (1839-1906) and Hunter's struggle to balance such aims with his own early painting style based on Manet's technique are as relevant in 1910 as they were in the early 1920s. He underlines key words, their simplicity loaded with meaning:'Painting is the registration of ones colour sensations/There is no such thing as line/There is no such thing as modelling/There are only contrasts/It is because I cannot render my sensations at once! Hence I put on colour again/I put it on as best I can but when I begin I endeavour always to paint with a full impasto like Manet giving the form with the brush.' (Hunter's Notebook, Private Collection)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

George Leslie Hunter (British, 1877-1931)Portrait of John Leyden in a white ruff signed 'Hunter' (upper right), inscribed indistinctly to label by another hand 'Painted 1913/ Mr Leyden/ Uddingston' (verso)oil on canvas35.6 x 30.5 cm. (14 x 12 in.)Footnotes:ProvenanceArthur Leyden and thence by descentLiterature Bill Smith and Jill Marriner, Hunter Revisited, the Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.68Hunter wanted to do portraits à la Manet and he needed sitters, regardless of their circumstances. The family story to this portrait of Arthur's younger brother, John Leyden (1879-1923) is that because John had broken his back, Hunter put him in a ruff to support his head. Historical records confirm that two years before, John was diagnosed with a neurological disorder that led to spinal cord damage.As to whether any device was worn by John and the ruff stemmed from Hunter's imagination is debatable. Hunter's imagination often transformed objects into something else, such as painting onions as oranges, when they were in short supply during WW1.While Man with White Ruff showcases Hunter playing with opaque paint on a light ground à la Manet, a similar approach can be found in a series of six bust-length portraits, the sitters dressed in historical costume; at least one picture is dated 1914. There is another family story from a young cousin of Hunter's who sat for him around this time. She explained Hunter wanted to paint her long Titian-coloured hair and insisted on dressing her in a purple cloak and for additional effect, a big black hat like one made famous by Lady Emma Hamilton (c.1765-1815), Lord Nelson's mistress. The painting is now lost but it does suggest that Hunter may have studied portraiture by George Romney (1734-1802). Equally, Hunter's portraits in historical costume could have been inspired by his enjoyment of the theatre, a characteristic that surfaced from time to time in his work up until his death in 1931.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com