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GAUSS, U., ed. Marc Chagall, the lithographs. La Collection Sorlier. (1998). Fol. Owrps. -- M. GUÉRIN. L'Œuvre gravé de Manet. 1944. 4°. Owrps. (Wrps. partly faded/browned). -- A. TAEVERNIER. James Ensor. Illustrated cat. of his engravings, their crit. description and inventary of the plates. (1999). 4°. Ocl. w. dust-j. (Text in French, English & Dutch). -- G. SCHOR. Barnett Newman, die druckgraphik 1961-1969. (1996). 4°. Obrds. w. dust-j. -- And 3 o. (7).

Manet, Eduard (1832-1883) "Der Dichter Baurdelaire", Radierung, um 1868, in der Platte monogr. o.l., rücks. bezeichnet und Widmung dat. 1947,12x7,5 cm, hinter Glas im Passepartout und Rahmen

Glass framed Sunform quartz sasaki manet clock and a J Hepworth and sons mantel clock, untested

Set of ten original vintage art exhibition advertising posters. 1. Eugene Atget (b. 1857) exhibition Photographs of Old France in Serpentine Gallery, Kensington Gardens W2, 25 February - 25 March 1984, open daily 10-5.30, admission free, from Museum of Modern Art New York, Art Council of Great Britain. The poster features the photograph of a town square at Pontoise, Place du Grand-Martroy, France, 1902. Eugène Atget was a French photographer documenting the architecture and street scenes. Good condition, creasing, folds, minor staining. Country of issue: UK, , size (cm): 76x51, year of printing: 1984.; 2. What's new at the Victoria & Albert Museum? Summer 1987 featuring announcements of various art exhibitions - Wally Gilbert and Thomas Gentile Jewellery Gallery, Alvar Aalto in association with the Museum of Modern Art MOMA New York, Judaica from the V&A, Susie Cooper Productions, Francis Williams Exhibition Contemporary book and magazine illustration, Zika Ascher - Fabric Art Fashion. Good condition, creasing, folds, pinholes. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1987.; 3. Step Into Summer 1985 Victoria & Albert Museum, featuring photographs of three centuries of shoes in the Dress collection, a yellow silk shirt with caption - Explore the decorative riches of the East, One of our 15000 plates most are in the ceramics Galleries, Take tea in the Restaurant or strawberries and cream in the Garden - with a couple seated under a red umbrella. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 76x51, year of printing: 1985. 4. Spring Events Calendar 1985 by Victoria & Albert Museum, featuring artwork inviting to visit various exhibitions - The People and Places of Constantinople Watercolours by Amadeo, Count Preziosi; William Staite Murray and His Pupils Studio Pottery of the 1920s and 1930s; From Manet to Hockney Modern Artists' Illustrated Books; Frances Bendixson Contemporary Jewellery; Mouton Rothschild Paintings for the Labels; Handel in St. Martin's Lane Theatre Museum in association with English National Opera. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1985.; 5. What's New at the Victoria & Albert Museum? Spring 1986, inviting to visit the museum for various exhibitions - Designs for British Dress and Furnishing Fabrics 18th Century to the Present; Photographs by Roger Mayne; Characters in Cloth Textile Portraits; Chess in Art and Society - French 18 Century Drawings - Swiss Stained Glass Designs of the Formation; American Dolls The Lawrence Scripps Wilkinson Collection; and The New Restaurant reviewed by The Guardian. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 6. What's New at the Victoria & Albert Museum? Summer 1986, inviting to visit the museum for various exhibitions - Characters in Cloth Textile Portraits; American Dolls The Lawrence Scripps Wilkinson Collection; Knit One Purl One; 17th Century Tapestries; American Potters Today. Good condition, creasing, folds, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 7. Edward Middleditch (b. 1923) exhibition in Serpentine Gallery, Kensington Gardens W2, A South Bank Centre touring exhibition, 9 April to 15 May 1988, open daily 10am to 6pm, admission free, supported by City of Westminster and funded by Art Council. The poster features the painting Flowers, Chairs and Bedsprings, 1956 and travel information: Underground: South Kensington or Lancaster Gate, buses: 9 52 73 12 88. The poster is designed by Trilokesh Mukherjee, printed by Expression Printers Ltd. London N7. Good condition, creasing, folds, minor staining, tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1988.; 8. Lights at the Crafts Council. An Exhibition of Innovative Lighting 17 November 1982 - 30 January 1983 in Crafts Council Gallery 12 Waterloo Place Regent Street London SW1 4AU. The poster features a collage of a photo of a lamp and its scheme and another advertisement of The Well Dressed Christmas Tree. Nine Craftspeople Decorate Christmas Trees 17 November 1982 - 9 January 1983. Trees provided by the British Christmas Tree Growers Association. Crafts Council is the organisation for contemporary craft in the UK. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1982.; 9. What’s New In the Arts Council Collection in Wolverhampton Art Gallery, Lichfield Street Wolverhampton, 9 February - 16 March 1985, Monday to Saturday 10am - 6pm, Arts Council of Great Britain. The poster features artworks Toy by Richard Wentworth (b.1947), Bingo Bango Bongo by Bruce McLean (b. 1944), Head of Miss DeianTaylor by John Clinch (b. 1934), Study for Massacre of the Innocents by Jacqueline Morreau (b. 1929). The Arts Council Collection is a collection of modern and contemporary British art. Good condition, creasing, folds. Country of issue: UK, size (cm): 59x42, year of printing: 1985.; 10. David Drew Baskets, A Crafts Council touring exhibition with documentary photographs of Chris Chapman Provision for blind and partially sighted and exhibition by Vanessa Robertson Woven ikat Rugs 22 January - 30 March 1986 in Crafts Council Gallery 12 Waterloo Place, Lower Regent Street, London SW1. The poster features two photographs of artists with baskets and a loom by Chris Chapman. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.

Two mixed boxes of mainly art books to include Taschen, Manet, Goya, Colour 1923 edition, Landscapes in Britain 1850-1950 etc

Two mixed boxes of mainly art books to include Modern Painters magazines from 1988 to 1999, Prestel editions, Rembrandt, Manet etc

CASSATT MARY: (1844-1926) American Painter, one of 'Les Trois Grandes Dames' of Impressionism. A.L.S., `Mary Cassatt´, two pages, 8vo, n.p., 14th September, n.y., on the Mesnil-Beaufresne printed stationery, to art critic Achille Segard, in French. Cassatt writes to her biographer regarding one of her paintings, and states in part `…allow the person sent by the Durand-Ruel Gallery to take my painting in your house. I would like to finish what I have to do during my stay here where I have the models and the place to work and October would be a little late if I leave early to the south of France."  EX 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.

George Condoo.T.1985Aquarell auf Papier; gerahmt41 x 32,5 cmSigniert und datiert rechts oben: Condo 4.85Privatsammlung, SchweizDer US-amerikanische Maler George Condo zählt zu den international erfolgreichsten Gegenwartskünstlern. Bekannt ist er für seine figurativen Bilder in teils grotesker und ironischer Ausdrucksweise. In Anlehnung an die Postmoderne vermischt Condo Expressionismus, Kubismus, Surrealismus und die Graffiti-Kunst zu einem eigenen künstlerischen Kosmos. Als Inspirationsquellen dienen Condo die Alten Meister wie Francisco Goya und Diego Velázquez, weiters die Moderne wie Édouard Manet, Pablo Picasso und Willem de Kooning. Geboren 1957 in Concord im US-Bundesstaat New Hampshire, studierte Condo Kunstgeschichte und Musiktheorie an der University of Massachusetts in Lowell, wo er sich besonders von der Kunst der Renaissance und des Barocks inspirieren ließ. Anfang der 1980er zog es den Autodidakten nach New York City. Zu seinem Freundeskreis zählten Jean-Michel Basquiat, Keith Haring, Allen Ginsberg und William S. Burroughs. Zu Beginn arbeitete Condo in Andy Warhols legendärer Factory, ging anschließend nach Kalifornien und schließlich für ein Jahrzehnt nach Paris, ehe er 1995 nach New York zurückkehrte. Seine Werke befinden sich in internationalen Sammlungen wie dem Centre Georges Pompidou in Paris, in der Tate Modern in London und im MoMA in New York.(Stefan Üner)

Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréLA SOURCE (DIE QUELLE) Öl auf Leinwand. 81 x 65 cm. Rechts unten signiert „Fantin“. In Prunkrahmen.Vor nicht näher zu identifizierender Landschaft mit brauner und grün-weißer Farbgebung eine stehende nackte Nymphe mit Stand- und Spielbein, die sich mit ihrem rechten Arm und leicht erhobener Hand über einen liegenden Tonkrug beugt, aus dem Wasser herausfließt, in ein die Stehende umgebendes Gewässer; die Dargestellte als allegorische Wiedergabe für die Quelle. Malerei in impressionistischer Manier, jedoch in der dem Künstler eigenen verträumten, entfernt-symbolistischen Fantasievorstellung. Minimale Retuschen.Provenienz: F & J. Tempelaere, Paris. N.A. Groes, Brüssel. Locket Thomson, Barbizon House, London. Collectie Cleijndert, Niederlande. F. Möller, Amsterdam. Galerie Koller, Zürich, 16. November 1990, Lot 5156. Galerie Koller, Zürich, Mai 1992 . Anmerkung: Verso Aufkleber auf Rahmen vom Stedelijk Museum, Amsterdam, und zu Provenienzangaben und Literatur. 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.Literatur: Victoria Fantin-Latour, Catalogue de l’Oeuvre complet de Fantin-Latour, Amsterdam – New York 1969, S. 229, Nr. 2171. Ausstellung: Amsterdam, Stedelijk Museum, 1952, Nr. 57. (1300995) (18)Henri-Théodore Fantin-Latour, 1836 Grenoble – 1904 BuréLA SOURCE (THE SPRING)Oil on canvas.81 x 65 cm.Signed “Fantin” lower right.Provenance:F & J. Tempelaere, Paris.N.A. Groes, Brussels.Locket Thomson, Barbizon House, London.Collectie Cleijndert, Netherlands.F. Möller, Amsterdam.Galerie Koller, Zürich, 16 November 1990, lot 5156.Galerie Koller, Zürich, May 1992.Notes:Label on the back of the frame by the Stedelijk Museum, Amsterdam as well as information regarding its provenance and literature. Literature:Victoria Fantin-Latour, Catalogue de l’Oeuvre complet de Fantin-Latour, Paris 1911, p. 227, no. 2171.Exhibition: Amsterdam, Stedelijk Museum, 1952, no. 57.

Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, zug.LE JARDIN, UM 1878 Öl auf Leinwand. 33 x 46 cm. In dekorativem vergoldetem Rahmen.Der erste Eindruck von dem Gemälde ist der einer Fülle von Farben. Vor allem der Vordergrund ist mit einem weichen Pinselstrich versehen, von einem Grün, das nicht versucht, sich von den Pinselstrichen zu lösen, mit denen es ausgebreitet wurde. Die Unschärfe der Behandlung lädt unser Auge dazu ein, darüber hinaus in die Tiefe des Bildes zu fokussieren. Dort tauchen Topfpflanzen auf und noch weiter hinten ein hoher Tisch mit drei Beinen. Wir befinden uns in einem Garten, der von einem Weg mit Blumenkästen durchzogen ist. Das Blumenbeet im Vordergrund erhält so seine volle Bedeutung und seinen Platz. Gustave Caillebotte hat mit seinem schnell gemalten Gemälde einen impressionistischen Eindruck hinterlassen; Farben und verstreut hier und da seine roten Pinselstriche, die nach den Regeln der Perspektive immer weniger werden. Das gleißende Licht der reinen Farben im Vordergrund ist zwar auch auf die der impressionistischen Malweise zuzuschreiben, ist es doch der Blickwinkel, der die Originalität dieser Komposition ausmacht. Der Blickwinkel befindet sich in der Nähe der Blumen im Vordergrund und zeigt uns den Tisch in einer leichten Untersicht. Innovativ, gewagt, wie eine Fotografie gerahmt, fasst dieses Werk auf den Punkt allein die Modernität von Gustave Caillebotte. (†)Provenienz: Privatsammlung A.K., Paris. Anmerkung: Gustave Caillebotte (1848-1894) war ein französischer Maler des Impressionismus. Nach einem Jurastudium begann er im Atelier von Léon Bonnat (1833-1922) zu malen und später an der École des Beaux-Arts in Paris. Nach dem Tod seines Vaters im Jahr 1874 erbte er ein komfortables Vermögen und konnte sich der Malerei widmen. Zu dieser Zeit beginnt er kleine Bildformate des Familienanwesens in Yerres zu malen, bis es 1878 verkauft wurde. Sein erstes Bild im Jahr 1875 war das realistische Gemälde „Les Raboteurs de parquet“ und wurde auf dem Salon wegen seines prosaischen Themas, der Arbeit von Arbeitern, abgelehnt. Caillebotte wandte sich daraufhin dem Impressionismus zu und nahm an den Impressionistenausstellungen von 1876, 1877, 1879, 1880 und 1882 teil. Er unterstützte die Bewegung finanziell und beteiligte sich persönlich an bei der Organisation der Ausstellungen. Er kaufte Gemälde von Monet, Pissarro, Degas, Renoir und Manet und baute so eine außergewöhnliche Sammlung auf, die er nach seinem Tod dem Staat vermachte. Diese Gemälde befinden sich heute im Musée d’Orsay in Paris. Im Jahr 1880 kaufte Caillebotte ein Anwesen in Petit-Gennevilliers am Ufer der Seine, wo er seine impressionistischen Freunde empfing, darunter insbesondere Monet, der sich von seinem Garten inspirieren ließ, um seinen eigenen in Giverny anzulegen. Der Kontakt mit ihm führte dazu, dass der glatte Pinselstrich und die scheinbare Zeichnung der Anfänge verschwanden, und stattdessen setzt er nun auf eine fragmentierte Zeichnung und die Darstellung von Formen und Licht durch die Gegenüberstellung von Farben, wie man sie in diesem Garten bewundern kann. Als Paul Durand-Ruel 1886 in New York eine große Impressionistenausstellung mit 300 Gemälden organisierte, waren auch zehn Bilder von Caillebotte dabei vertreten, was ihn beim amerikanischen Publikum bekannt machte. Sein früher Tod im Alter von 46 Jahren unterbrach den Werdegang eines der originellsten Talente des Impressionismus und brachte ihn um seinen Ruhm, den er erst ein Jahrhundert später erlangte. (1301338) (18)Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, attributedLE JARDIN (THE GARDEN), CA. 1878Oil on canvas.33 x 46 cm. (†)Provenance:Private collection A.K., Paris.

AFTER ÉDOUARD MANET (French 1832-1883) etching - Baudelaire en Profile en Chapeau II (Charles Baudelaire in Profile Wearing a Hat II), 1869, text within the plate reads 'Peint et Gravé par Manet 1862' and 'Imp. A. Salmon', 13 x 10cms

Manet, Édouard (1832 Paris 1883), nach "Olympia". Radierung (gebräunt, nicht ausgerahmt), in der Platte sign. 13x 18 cm. PP., R.

Manet, Édouard (1832 Paris 1883), nach "Olympia". Radierung (gebräunt, nicht ausgerahmt), in der Platte sign. 13x 18 cm. PP., R.

NO RESERVE Razzall (Rosie) and Lucy Whitaker. Canaletto & the Art of Venice, very occasional light soiling, dust-jacket, 2017 § Hogben (Carol) and Rowan Watson. From Manet to Hockney, bookplate of Trevor Weston to front free endpaper, cloth lightly rubbed, 1985 § Jones (Roger) and Nicholas Penny. Raphael, ink inscription to front free endpaper, dust-jacket lightly rubbed and toned, 1983, original cloth; and c.95 others, art and architecture reference, v.s. (c.95)

Hans Meid: Don Juan. 15 Radierungen zur Oper von Mozart. Berlin: Paul Cassirer 1912. 51,3 x 44 cm. Mit Titelradierung und 14 Radierungen unter Passepartouts, sämtlich signiert und mit Exemplarnummer versehen; in unterschiedlichen Blattgrößen. 2 Bll. lithogr. Titel und Inhalt. Lose in OrHPgt.-Mappe. (Titel leicht stockfleckig, Inhaltsblatt mit stärkeren Braunflecken, beide Bll. am Rand etw. geknittert, Die Radierungen stellenw. schwach stockfleckig; ein Passepartout erneuert, die darunterliegende Radierung im Passepartoutausschnitt etwas gebräunt.) Nr. V der Vorzugsausgabe von 10 Exemplaren auf Japan (insges. 100 Ex.). - Jentsch VI (Werknr. 82-96). Lang, Impr. 124. - Das Projekt des Don Juan-Zyklus entstand 1910 während Meids Florenz-Aufenthalt. Angesichts der italienischen Umgebung, der Florentiner Renaissance und der barocken Architektur fand Meid zu einem neuen bildnerischen Ausdruck und als ehemals "lasterhafter Wagnerianer" zu einem veränderten Musikgeschmack. Nach seiner Rückkehr nach Berlin entstanden in kürzester Zeit die Illustrationen zu Mozarts Don Giovanni. "Meids Stil zeigt sich in höchster Form. Die technische Rafinesse seiner Radierungen und die Dramatik der Kompositionen konnte er in späteren Jahren kaum überbieten. [...] Auch das charakteristische Helldunkel, das Meid in die reiche Tradition von Rembrandt bis Manet stellt, erreichte in diesen frühen graphischen Werken [d.i. Othello u. Don Juan] seinen Höhepunkt." (Lang, S. 148).

SINGER, HANS W.Die moderne Graphik. Eine Darstellung für deren Freunde und Sammler. Leipzig: Seemann 1914. 30 x 24 cm. Mit 4 OrRad. und zahlr. Abb. im Text. V SS., 1 Bl., 547 SS., 1 nn. S. OrLdr. mit Rt., Deckelfileten, goldgepr. Deckelvign. und Kopfgoldschnitt.(Einband am Rücken verblasst und mit kl. Kratzspuren. Innen kaum Altersspuren).Ex. 94/200 der VA. mit 4 OrRad. v. Edouard Manet (Seifenblasen), Max Klinger (Kauernde), Max Slevogt (Löwen und Tiger) und Wilhelm Strang (Landschaft).

William Orpen, RA, RI, RHA (1878-1931) "Portrait of the Artist's Wife, Grace Knewstub,1912," O.O.C., 58 x 36cms (23" x 14"). Signed and dated 'Orpen Dublin 1912'   Depicting the head and shoulders of a young woman?almost certainly the artist's wife Grace Knewstub this portrait by William Orpen, painted in Dublin in 1912, dates from a time when significant events were taking place in their lives together. While the head is well-finished, Orpen blocked out the area of the dress with broad brushstrokes of brown and black, evidently with the intention of finishing the portrait at a later date. However Grace?s eyes are downcast, and she appears to have been a reluctant sitter. Her hair is not combed, nor is she wearing the fashionable clothes and jewellery that adorned so many of Orpen's sitters. Nonetheless, the portrait shows the artist's brilliance in capturing not only a likeness, but also a sense of life, a gift he shared with his contemporary Augustus John. This is no formulaic society portrait; Grace is instantly recognisable as an individual, with a strong personality. That the painting remained unfinished is no surprise. That same year Orpen painted one of his finest society portraits, that of his long-term lover, the wealthy American Mrs. Evelyn St. George. In January of that year St. George had given birth to their child, Vivien. This would have caused scandal in the middle-class Dublin milieu in which Orpen had grown up, and immense upset to his wife Grace, with whom he had two children. The ramifications would have spread to England, where Grace?s sister was married to the artist William Rothenstein. Also dating from 1912 are Orpen's Portrait of Gardenia with a Riding Whip, depicting the teenage daughter of Evelyn St. George, and several portraits of another American, Vera Brewster, who had married the Irish writer Joseph Hone and lived next door to the Orpens. The artist was clearly fascinated by Vera, who sat for him on several occasions that year: in The Angler, she holds a fishing rod, while in The Blue Hat, she is wearing fashionable headgear. In 1912 also, his portrait of Vera, The Chinese Shawl, was exhibited at the New English Art Club and later purchased by the National Gallery of Victoria in Melbourne. Other portraits from that summer include Portrait of Kit, his daughter, a cheerful young girl sitting with her arms folded and wearing a white knitted hat and scarf. Nevertheless, amidst all these coquettish poses, arch expressions and fashionable accessories, the portrait of his wife Grace stands out for its down-to-earth directness and honesty.   Born in Stillorgan, Co. Dublin, William Orpen was the son of a solicitor, while his mother Anne was the eldest daughter of the Rev. Charles Caulfeild, Bishop of Nassau. After attending the Metropolitan School of Art, he went on to the Slade School of Art in London, winning the composition prize of 1899 with The Play Scene from Hamlet (Houghton Hall, Norfolk). From the outset, Orpen eschewed experimentation and flirtations with Modernism. He revered seventeenth-century painters such as Rembrandt, Velasquez and Chardin, and sought to emulate their Realist style. In terms of his own peers, he admired the work of Augustus John, and joined the New English Art Club. His Homage to Manet depicts members of the NEAC, sitting below Manet?s portrait of Eva Gonzalès. In 1902, in cooperation with John, he opened an art school in Chelsea and also began to teach at the Metropolitan School in Dublin, a position he held until 1914. He was a friend of the collector Hugh Lane, with whom he travelled to Paris and Madrid in 1905. Three years later he began to exhibit regularly at the Royal Academy in London. Elected a member of the Royal Hibernian Academy, he rapidly became one of the most successful portrait painters in London and Dublin, being overwhelmed with commissions. Many of Orpen's portraits are painted in his characteristic bravura style, and yet he seems to have grown to dislike the elite social circles in which he moved. On the outbreak of World War I, he was appointed an Official War Artist and was given the rank of Major in the British Army. Some of his best paintings were done as a war artist, and his images of the Somme, of injured soldiers and ruined cities, remain today amongst the most powerful works of art depicting that conflict, while his portraits of key negotiators at the Treaty of Versailles are a valuable record, reflecting also his privately-held views on the politics of the time. After the war ended in 1918, Open resumed his successful portrait practice. Although he did not return to Ireland after 1915, his artistic legacy at the Metropolitan School of Art continued for many years. Provenance: Originally owned by Lady Yarrow (née Eleanor Barnes) a leading promoter of the Arts and Crafts Revival, this drawing was gifted to the McDonnell family of Dalguise in Monkstown, Co. Dublin. Dr. Peter Murray, 2022

Vroom, Jean Paul, signed, Hommage to Edouard Manet, lithograph 62 x 90 cm.VROOM, JEAN PAUL (1922-2006), ges. en gedat. 1973 r.o., Hommage aan Eduard Manet, litho (39/160) 62 x 90 cm.

Richtschwert, deutsch, wohl 19. Jhd. im Stil des 17. Jhd.Geschärfte Klinge mit breiter Hohlkehle, ovaler Knauf mit Vernietknäufchen in originaler Vernietung, Parierstange mit rundlichen Enden, Hilze mit originaler Eisendrahtwicklung, Klinge beidseitg graviert, auf einer Seite "Fiat Justitia + Pereat Mundi" ("Es geschehe Gerechtigkeit und wenn die Welt darüber zugrunde geht"), eingefasst in Rankwerk, dazwischen Tatzenkreuz und "MDN", darüber Galgendarstellung. Gegenseitig "Dirum Scelus non manet Inultum" ("Ein grausames Verbrechen wird nicht ungesühnt bleiben") unter Darstellung eines Rades, unter dem Rad undeutlich eingeschlagene Schmiedemarke (Männerkopf mit lockigen Haaren?), auf der Parierstange Tuschebeschriftung (Sammlungsnummer) "IV58", gut erhaltenes Richtschwert, bei welchem es sich wohl um die Kopie eines seltenen Originals aus dem 17. Jhd. handelt, L. 106 cm, Zustand 1, Abgabe nur an Personen über 18 Jahren.EXECUTIONER'S SWORD, german, probably 19th century in the style of the 17th century, blade with marks and inscriptions in Latin, engraved gallow and braking wheel, length 106 cm. On the cross-guard painted inventory number "IV58". Well preserved sword in good condition. Blacksmith mark on the blad unidentified. Customers outside the EU: Please organize the shipping and the preparation of export documents by a suitable forwarding agent on your own.

CIRCLE OF EDOUARD MANET (1832 - 1883). French school, study of a young woman in an ornamental garden, bears signature lower right, oil on panel, framed, 29 x 24 cm

Set of 12 mounted prints after well-known artists such as Gauguin, Manet, etc., typically 69.5 x 57cm with mountings.

Ten reference books on British and European art and techniques to include: 1. Painting Techniques, the methods and materials of painting by Ludvik Losos, first published 1987 by Octopus Books Limited, London, 2. The English Face by David Piper, published by National Portrait Gallery Publications, London 1992, 3. The British Portrait 1660-1960, first published 1991 by Antique Collectors' Club, reprinted 1996, 4. British Prints dictionary and price guide by Ian Mackenzie, 1987 Ian Mackenzie World copyright reserved, Published by the Antique Collectors' Club, 5. A Gift to America, Masterpieces of European Painting from the Samuel H. Kress Collection, Published in 1994 by Harry N. Abrams, 6. Eyewitness Art: Manet by Patricia Wright in association with The National Gallery, London, published by Dorling Kindersley Limited 1993, London, 7. Hand & Machine by Robert Welch, first edition published 1986 by Robert Welch, Gloucestershire, 8. The Artist Revealed artists and their self-portraits by Ian Chilvers, Published in 2003 by Grange books, Kent, 9. Nick Schlee drawings from 1958-2010, first published 2012 by Academy Press, Brighton, 10. Nick Schlee paintings from 1987-2008, first published 2008 by Academy Press, Brighton (10)

21 Bände Kunst und KünstlerIllustrierte Monatsschrift für bildende Kunst, Redaktion Heilbut, Flaischlen, Scheffler, Berlin bei Bruno Cassirer, Jahrgänge I, II (2 x), III, IV (2 x), VI (2 x), VII, VIII, IX (2 x), X, XI, XII, XVIII, XXI, XXIV, XXVI, XXVII, XXX sowie Einzelhefte der Jahrgänge XI (Hefte I, III, VIII, IX, XII), XIII (Hefte VIII, XI) und XIV (Heft VII), von 1903-1931, Formate Lex. 8° und 4°, die Exemplare enthalten unter anderem zwei Holzschnitte von Eduard Manet, eine Radierung von Auguste Renoir, 13 Lithografien von Ernst Barlach, sieben Lithografien von Max Beckmann sowie Grafiken von Paul Baum, Lovis Corinth, Max Liebermann, Max Slevogt, usw., meist Halbledereinbände mit goldgeprägten Rücken und Titeln, unterschiedliche Erhaltungen mit Altersspuren, unkollationiert.

VIER SILBERBARREN - 900er Silber (Gesamtgewicht 60 g), viereckige Form mit Medaillenausrichtung und unterschiedlichen Motiven. Auguste Renoir: 5 Euro, 2009, Le déjeuner des canotiers; 2 x Edouard Manet: 1/4 Euro, 2008, Olympia und Edgar Degas: 1/4 Euro, 2007, L´étoile, . G. je 15 g, D. 36,6 mm.

DREI SILBERBARREN - 900er Silber (Gesamtgewicht 45 g), viereckige Form mit Medaillenausrichtung und unterschiedlichen Motiven. Auguste Renoir: 5 Euro, 2009, Le déjeuner des canotiers; Edouard Manet: 1/4 Euro, 2008, Olympia und Edgar Degas: 1/4 Euro, 2007, L´étoile, . G. je 15 g, D. 36,6 mm.

ENGLISH SCHOOL; oil on canvas, chickens in a barn, signed ‘Hunt’, 24cm x 19cm, with an oil on board of a beached boat signed ‘E Geere’, an oil on board cafe scene after Manet, and a pastel of a bather after Degas signed ‘J.D Edwards’ (4). 

A painted box table as a pile of oversized books including "The Travels of Marco Polo", "The World of Manet", "Paintings and Sculpture in Europe", "Classical Arts" and "The History of Impressionism" 50.5 cm x 38.5 cm x 48.5 cm

A quantity of art books, mostly impressionists, to include Monet, Manet, van Gogh etc

Original vintage exhibition poster for a Galerie du Bac exhibition of lithographs by Manet - Toulouse-Lautrec - Matisse - Picasso which was held 19 February to 20 March 1954. The poster features Henri de Toulouse-Lautrec’s 1954 lithograph The Box with the Gilded Mask / La Loge au mascaron dore, depicting a woman in a black dress and hat with ginger hair looking through opera glasses and peering over the edge of a theatre box in an ornately decorated theatre with red curtains forming the background. Poor condition, folds, creasing, staining, tears, paper losses. Country of issue: France, designer: Toulouse-Lautrec, size (cm): 63x47, year of printing: 1954

Edouard Manet (French 1832-1883) Portrait of Baudelaire Etching on laid paper Signed in print lower right "Manet" and lower section "Peint et Gravure Par Manet 1865 imp. a salon". Sight Size: 3.5 x 3 in. Overall Framed Size: 10.75 x 8.75 in. Framed behind glass.

FOLLOWER OF EDOUARD MANET 1832-1883 OIL ON PANEL OF WOMAN READING LETTER - 33CM X 41CM - NICE CONDITION, PANEL STRONG - NO SPLITS

Two boxes of assorted art books, including Klee, Gauguin, Goya, Cezanne, Manet etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

Two boxes of assorted art books, including Manet, Sickert, Paul Nash, Cezanne, Rembrandt, Rousseau etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

Rewald (John). Dega's Complete Sculpture, catalogue raisonné, new edition, San Francisco: Alan Wofsy Fine Arts, 1990, numerous colour & monochrome illustrations, original cloth in dust jacket, spine slightly faded, large 8vo, together with; Cogeval (Guy et al), Édouard Vulliard, 1st edition, New Haven: Yale University Press, 2003, numerous colour & monochrome illustrations, original cloth in dust jacket, large 8vo, Wilson-Bareau (Juliet & David Degener), Manet and the Sea, 1st edition, New Haven: Yale University Press, 2004, numerous colour & monochrome illustrations, original cloth in dust jacket, front cover lightly marked, large 4to, Boggs (Jean Sutherland), Degas at the Races, 1st edition, New Haven: Yale University Press, 1998, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plus other Impressionism reference & related, some original cloth in dust jackets, some paperback editions, VG, 8vo/4toQty: (3 shelves )

FOLLOWER OF EDOUARD MANET 1832-1883 OIL ON PANEL OF WOMAN READING LETTER - 33CM X 41CM - NICE CONDITION, PANEL STRONG - NO SPLITS

MANET Study of a Reclining Nude Female. pastel drawings, signed lower right, 18 x 23cm.

Signed and dated '10, inscribed on the backboard verso, oil on board37cm x 44.5cm (14.5in x 17.5in)Provenance: Acquired from the Artist by Sir Patrick Ford and thence by descent when purchased by the current ownerFootnote: Note: The Giudecca and Redentore, Venice comes from a beautiful series of works which marked Cadell's emergence as one of the most important Scottish artists of the twentieth-century.Cadell trained at the Académie Julian in Paris and at the Akademie der Bildenden Künste in Munich. He had his first solo exhibition in Edinburgh in 1908, which garnered twenty-five sales including to his school friend and future politician Patrick Ford. The following year, Cadell established a studio in George Street, in the heart of Edinburgh's New Town.In 1910, Cadell received a cheque from Ford 'to go to Venice and paint. He to choose equivalent in pictures on return £150' (as recorded by the artist in his Register of Pictures and quoted in Alice Strang, F. C. B. Cadell, Edinburgh 2011, p. 17). It is no wonder that Cadell was attracted to Venice. Its romanticised reputation as an artistic mecca had been cemented in the nineteenth-century, with Lord Byron’s dramatic poetry and J. M. W. Turner’s evocative representations inspiring a generation of artists, each keen to depict the city’s unique vistas. Despite the explosion of tourist activity, Venice never became passé among artists. Manet and Whistler were drawn there, excited by the challenge of creating their own interpretations of lauded Venetian motifs. Though Monet resisted visiting until 1908, he too was stimulated by the beautiful architecture and mercurial light of the Lagoon and produced a series of atmospheric paintings which received wide critical approval upon their exhibition.The bright Mediterranean light shimmering off the canals had a marked effect on Cadell's palette, into which he introduced a much more vibrant colour range. Though it is highly unlikely that he saw Monet’s Venetian cityscapes at first hand, the tonal similarities of their work inspired by the city is striking; both artists punctuating the whites and creams of the sun-drenched architecture with pinks, purples and turquoises. Cadell’s technique became looser and more expressive than ever before. Bold, loaded brushstrokes were layered to convey the rippling surface of the waterways and fleeting impressions of passers-by. He revelled in the beautiful scenes by which he found himself surrounded and painted views as varied as that of a bustling St Mark’s Square to quieter, more contemplative corners of the city and its inhabitants.The present work depicts one of Venice's most celebrated views. Against a backdrop of a vividly-realised sky, Cadell describes the distinctive outline of the Redentore, the Church of the Most Holy Redeemer and its architectural neighbours. He conveys reflected light with swift, delicate lilac flicks of his paint brush. As we lower our eyes and let them drift across the rippling waves of the Giudecca Canal, we meet the thoughtful figures at the water's edge. The surface of the painting is enlivened with rhythmic, distinct brushstrokes, with paint quickly applied 'wet on wet', giving a sense of the speed and confidence with which Cadell worked.The results of Cadell's successful and productive trip were exhibited at The Scottish Gallery in Edinburgh in 1912 and proved to be a watershed in his burgeoning career. Ford selected six from the series for his collection, including The Giudecca and Redentore, Venice, which remained in his family for generations. Three further Venetian paintings were presented in Ford's honour to the National Galleries of Scotland in 2014.

Signed, oil on canvas56cm x 51cm (22in x 20in)Provenance: Acquired from Alexander Reid, La Société des Beaux-Arts, Glasgow in 1924 by Ion R. Harrison Footnote: Exhibited: Samuel John Peploe, La Société des Beaux-Arts, Glasgow, 1924Fine Art Section, Empire Exhibition, Bellahouston Park, Glasgow 1938, no.28Pictures from a Private Collection: Peploe, Fergusson, Hunter, Cadell, McLellan Galleries, Glasgow, 1951Three Scottish Colourists, Scottish Arts Council Gallery, Glasgow 1970 and tour, no. 71Literature: Ion R. Harrison, 'As I Remember Them' in T. J. Honeyman, Three Scottish Colourists: Peploe, Cadell, Hunter, London 1950, p. 119, repr. col. pl. VI.Guy Peploe, S. J. Peploe, Farnham 2012, p. 137, repr. col. fig. 144.Note: Roses and Fruit is a superlative painting by Peploe. It not only shows the artist at the very height of his powers but was also part of one of the most important collections of the work of the Scottish Colourists ever assembled.Having explored the visual possibilities of the tulip in the immediate post-World War One period, roses emerged as Peploe's favoured flower in the early 1920s. They became the subject of the most celebrated paintings of his career. The interplay of light and colour amidst their layered heads, as well as the formal contrast with their strongly defined leaves proved endlessly inspirational. On a practical level, roses maintained their shape long enough to satisfy Peploe's painstaking working methods.In his still lifes of the decade, Peploe brought to bear all the experience he had gained in the genre as an emerging artist in Edinburgh before the war, his experimentation in pre-war Paris and the development of his practice during the conflict. Peploe's exploration of the work of artists from Edouard Manet, to Vincent van Gogh and Paul Cézanne were brought to a triumphant and original conclusion in this period, as revealed in Roses and Fruit.This ambitious and confidently realised work features many of Peploe's most treasured still-life objects, from fruit compotier to gold-rimmed tea-cup and be-ribboned black fan. Each element is carefully placed in relation to the others, creating a sense of balance and allowing a seamless visual journey from drapery in the foreground to plate in the foreground. The cropping of, for example, the aspidistra leaf which enters from the left, is a clever device suggesting the space beyond the canvas, into which the viewer is invited to join the artist. The complex and triumphant realisation of the roses, their stems in water and the view through the vases are passages of extraordinary skill. A gentle palette is combined with bright colour, especially in the fruit, to provide rhythm and structure. It was with works such as Roses and Fruit that Peploe rose to international prominence in the 1920s and on which his enduring reputation as one of Scotland's most important artists is based.In 1915, Peploe had his first solo exhibition at Alexander Reid's gallery, La Société des Beaux-Arts, in Glasgow. Thus began a long and productive relationship with the business, which expanded to London, involving regular exhibitions throughout the rest of Peploe's life. As a result, many art lovers were introduced to Peploe's work, not least the Glasgow ship-owner Ion R. Harrison. He purchased Roses and Fruit from Alexander Reid when it was included in a solo exhibition in the city in 1924. It was one of the first two paintings by the Scottish Colourists which he acquired before going on to become one of their most significant patrons.In 1950 Harrison recalled: 'In was in 1921 or 1922 that I first became interested in the work of the...Scottish Colourists. The first exhibition of Peploe's which I saw was in Alex. Reid & Lefevre's, West George Street, Glasgow. Mr Peploe at that time had an Exhibition of Flower Pictures...I had never seen anything in art similar to these pictures...The first pictures I bought of the...Colourists were from a Peploe exhibition at Reid's which was held in March 1924. One was the beautiful Pink Rose Picture [sic - he is referring to the present work, which is titled Roses and Fruit under its reproduction in the book] and the other the smaller storm seascape painted at the North End, Iona. I recollect the thrill it gave me to hang my first two Peploes.' (Harrison, op.cit, p. 119)Harrison not only went on to acquire many of Peploe's most important paintings, but was also able to develop a friendship with the notoriously private artist. He explained: 'It was through Cadell that I first met Peploe and it was when Cadell was starting to paint a portrait of my wife that Peploe joined us at Croft House for a weekend. This was a very great privilege for us, for Peploe did not care for visiting people unless he knew them very well. It was a very happy weekend indeed and Peploe was pleased to see his pictures hanging together in their surroundings...I held him in great esteem and regard him as a very great artist.' (ibid, p.123).Indeed, over time the walls of the Harrison family home, Croft House in Helensburgh, were hung with masterpieces not only by Peploe, but also by Cadell, J. D. Fergusson and George Leslie Hunter. Such was the eventual importance of the Harrison Collection that it was exhibited at the McLellan Galleries in Glasgow in 1951.Roses and Fruit is being sold to support various charities.

LAURENCIN, Marie (1883-1956). Marie Laurencin. Avec une préface par Marcel Jouhandeau, Paris, 1928, original wrappers. ONE OF 1,000 COPIES. With 2 other books. (3)LAURENCIN, Marie (1883-1956).  Marie Laurencin. Avec une préface par Marcel Jouhandeau. Paris: Éditions des Quatre Chemins, 1928. 4to (265 x 215mm). Half title, tipped-in coloured frontispiece and 4 coloured plates by Marie Laurencin, 32 monochrome plates. Original wrappers with printed label laid down on upper wrapper. NUMBER 547 OF 1,000 COPIES "sur papier Lafuma." With a book and a catalogue of related interest, namely Lettres Illustrées de Édouard Manet. Introduction de M. Jean Guiffrey (Paris, 1929, facsimile letters with coloured facsimile illustrations by Manet tipped-in, wrappers, [?]original or later brown suede chemise, NUMBER 20 OF 300 COPIES) and Catalogue of Seven Paintings by Cezanne, Manet, Renoir and Van Gogh. The Property of the late Jakob Goldschmidt of New York City (London, Sotheby's, [sale date:] Wednesday, October 15th, 1958, tipped-in coloured plates, original green printed paper boards). (3) 

A mixed box of art books to include Renoir, art nouveau painting, dada and surrealism, Manet

Auction Catalogues Important Old Master Paintings etc., Collection of a Gentleman. Town & Country Estates, 27-28 Clare St., Dublin 1960, 9 Nov. profusely illus., some prices and buyers written in. Includes work attributed to Goya, Manet, Jordaens, Raeburn, Rubens, Jan Steen, Turner, Robert Walker (portrait of Cromwell) etc., 88pp, 112 lots; Objets d'Art, Furniture, Oil Paintings, an Outstanding collection of Period Silver etc. at The Orchard, Shankill, Co. Dublin, by order of W.J.B. MacAuley esq., Hamilton & Hamilton 1960, 4-5 Oct., 23pp, 284 lots; Contents of 62 Fitzwilliam Square, Dublin, by direction of Miss Kathleen Kennedy, Osborne King & Megran 1966, 19 July, illus., 15pp, 310 lots (some good furniture). (3)

A large scale Edouard Manet print also with a Monet print and an Andre Derain print. Manet print W:65cm x H:85cm

French nineteenth-century lithograph after Manet, 'Portrait of Baudelaire'. Annotated in pencil to margin. Framed and glazed. Image size 10.5 x 8.5cm.

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.

2 LARGE HARDBACK BOOKS TITLED MONET BY HIMSELF & MANET BY HIMSELF

Will Grohmann Das Werk Ernst Ludwig Kirchners. München, K. Wolff 1926. - Großartiges Künstlerbuch mit Holzschnitten und Buchausstattung von Ernst Ludwig Kirchner - Die Vorzugsausgabe mit signierten Graphiken und in dem seltenen Luxuseinband - Exemplar mit zusätzlicher Signatur des Künstlers auf dem Titel 'Meisterleistung der deutschen Buchkunst der zwanziger Jahre' (Eberhard W. Kornfeld) Erste Ausgabe dieser frühen und wichtigen Werkmonographie zu Ernst Ludwig Kirchner - einer der großen 'Meilensteine in der Kunstpublizistik des 20. Jahrhunderts' (Ralph Jentsch). Das Buch bietet eine erste umfassende Übersicht über das weithin verstreute Werk des Künstlers, seine Gestaltung übernahm Kirchner selbst bis ins Detail. 1 von 50 numerierten Exemplaren der Vorzugsausgabe mit den beiden zusätzlichen, signierten Graphiken des Künstlers: als Frontispiz eingebunden der berühmte Holzschnitt Gerichtsszene aus Shaw's Heiliger Johanna (farbiger Druck von 3 Stöcken, Druck der Officina Bodoni. 1925), und zu Beginn des Tafelteils die Radierung Sitzende Bäuerin (Druck der Pan-Presse. 1922). Eingebunden in den prachtvollen, von Kirchner selbst gestalteten Original-Ledereinband, mit den Klischeedrucken Zwei Köpfe und Ausschauender Akt auf Vorder- und Rückdeckel. Zudem wurde dieses Exemplar noch zusätzlich vom Künstler auch auf dem Titelholzschnitt signiert. - Im Gegensatz zur Normalausgabe ausgesprochen selten, seit 15 Jahren läßt sich kein Exemplar mehr auf dem Auktionsmarkt nachweisen. Zusammen mit Gustav Schieflers Werkmonographie zu Kirchners Graphik gehört das hier vorliegende Werk zu den wirklich wichtigen Künstlerbüchern des deutschen Expressionismus. 'Die Publikationen sind dank der starken Einflussnahme von Kirchner, die bei Autor und Verlegern in der Vorbereitungszeit nicht immer nur auf fruchtbaren Boden gefallen ist, Meisterleistungen der deutschen Buchkunst der zwanziger Jahre geworden. Beide Werke faszinieren durch eine vorbildliche, modern durchdachte Typographie und leben von den zahlreichen Original-Holzschnitten, mit denen beide Bücher, besonders in den Titelbereichen, durchsetzt sind. Auch die graphisch sehr wirksamen Umschläge sind von Kirchner konzipiert. Das Erscheinen dieser Werke, denen während langen Jahren seine volle Aufmerksamkeit gegolten hatte, muß Kirchner mit einer grossen Genugtuung erfüllt haben. Beide Publikationen sind heute gesuchte Raritäten auf dem Markt des illustrierten Buches des 20. Jahrhunderts, aber im Moment ihrer Produktion haben sie den beiden Verlegern, ihrer kostspieligen Ausstattung wegen, grosse Sorgen bereitet.' (Kornfeld S. 257) Einband: Orig.-Lederband in Gold, Dunkelblau und Schwarz mit Goldschnitt und roten Seidenmoirée-Vorsätzen. 27,5 : 28 cm. - ILLUSTRATION: Mit 2 signierten Orig.-Graphiken sowie 6 Orig.-Holzschnitten (Titelholzschnitt in Blau und Schwarz, 4 Zwischentitel in Blau und 1 Holzschnitt in Schwarz) von E. L. Kirchner sowie 100 (4 farbigen) Tafeln und einigen Textabbildungen. -ZUSTAND: Einband nur stellenw. mit Bereibungen, Gelenke geringfügig gelockert. Schönes, wohlerhaltenes und sauberes Exemplar. - PROVENIENZ: Hamburger Privatsammlung. LITERATUR: Dube H 533 b III und R 410 III (jeweils signiert), H 852 (Titelholzschnitt, hier gleichfalls signiert), H 853 und 855-858 sowie 858 bis (Einband). - Kornfeld 202. - Jentsch 160. - Schauer II, 120. - Lang S. 61. - Dok.-Bibl. VI, 561. - Rifkind Coll. 1482. - Reed 108. - From Manet to Hockney 75. - Göbel 662. First edition of this early and important monography on Ernst Ludwig Kirchner - one of the great 'milestones in 20th century art journalism' (Ralph Jentsch). 1 of 50 numbered copies of the scarce luxury edition with the two additional signed graphics by the artist; in addition, this copy was also signed by the artist on the title woodcut. - Orig. leather binding in gold, dark blue and black with gilt edges and red silk moirée endpapers. 27,5 : 28 cm. Binding only in places with some rubbing, joints slightly loosened. Overall nice, well preserved and clean copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Edmond Bazire Manet. Ilustrations d'après les origineaux et gravures de Guérard. Paris, A. Quantin 1884. 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. Einband: Späterer Leinenband (Orig.-Broschur eingebunden). 25,5 : 17 cm. - ILLUSTRATION: Mit 2 Orig.-Radierungen von E. Manet und 9 Tafeln in Heliogravüren nach Manet von Guérard. LITERATUR: Vicaire I, 354. 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. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

David Hockney und C. P. Cavafy  Fourteen poems. London, Alecto 1966. - Vollständiger Radierzyklus in Buchform - 1 von 250 numerierten Exemplaren der Ausgabe B, im Druckvermerk vom Künstler signiert - 12 Orig.-Radierungen von feinster Präzision Bereits während seines Studiums entdeckt Hockney den griechischen Poeten Konstantinos Kavafis (1863-1933), Cavafy genannt. Ihn begeistert die klare und unprätentiöse Art, in der Cavafy über Homosexualität schreibt. Wegen seiner Begeisterung für den griechischen Dichter und wegen seines Verlangens literarische Radierungen zu erstellen, begann Hochney mit dem Radierzyklus. Da es keine rechtlich anerkannte Übersetzung der Gedichte gab, zögerte sich das Projekt bis 1966 hinaus, bis Hockney seinen Freund, den englischen Dichter Stephen Spender und dessen Kollegen mit der Neuübersetzung beauftragte. Generell sind die Arbeiten des Zyklus nicht als genaue Illustrationen der Gedichte angelegt, sondern als visuelle Interpretationen der Poesie Cafays. - Die Radierungen auf Velin von Barcham Green (ohne Wasserzeichen) und nicht - wie im Druckvermerk für Edition B erwähnt - rückseitig gestempelt. Einband: Violettfarbener Orig.-Leinenband in schwarzem Orig.-Leinenschuber. 47,5 : 33,5 cm. - ILLUSTRATION: Mit 12 Orig.-Radierungen von D. Hockney. - ZUSTAND: Sauberer breitrandiger Pressendruck auf kräftigem Papier, lediglich der Schuber leicht angeschmutzt. - LITERATUR: From Manet to Hockney 137. - Arnold 457. - Das Buch des Künstlers 15. - Scottish Arts Council 47-59. Dabei: Oskar Kokoschka , Griechisches Skizzenbuch. Luzern, Edition Bucher 1970. Orig.-Leinenband in Orig.-Leinenschuber. 47,5 : 36,5 cm. - 1 von 500 numerierten Exemplaren. - Schuber angestaubt. 1 of 250 numb. copies of edition B on Barcham Green Vélin. With 12 orig. etchings by D. Hockney. Orig. cloth in orig. cloth slipcase. - Clean copy, only the slipcase minim. stained. - 1 addition. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

A GILT FRAMED MANNER OF MANET 'PAINTING IN BALTIMORE' OIL ON PANEL 35CM X 28CM

NO RESERVE [Calvert (Samuel)] A Memoir of Edward Calvert, one of 350 copies [signed by the author], here unsigned, half-title, portrait frontispiece, 25 plates only after Calvert (of 34), illustrations, occasional spotting and foxing, original cloth, gilt, a little soiled, extremities rubbed, folio, Sampson Low, 1893 § Harris (Jean C.) Edouard Manet. Graphic Works. A Definitive Catalogue Rainsonné, black and white illustrations, original cloth, slightly soiled, 1970 § Man (Felix H.) 150 Years of Artists' Lithographs 1803-1953, one of 125 copies initialled by the author, lacking original signed lithograph by Graham Sutherland, illustrations, some in colour, tipped-in, original paper-covered boards, original slipcase, 1953 § Carrington (Fitzroy), Campbell Dodgson, et al. The Print Collector's Quarterly, a substantial run from 1911 to 1941, 92 vol. illustrations in black and white, original printed wrappers (c.5 lacking), torn and chipped, some discolouration, some spines worn, 1911-41; and c.100 others similar, etching, engraving and printmaking, v.s., (c.200)

A mixed box of art books to include Monet, Manet, Dali, Berthe Morisot, Pissarro, Henry Moore

A mixed box of art books to include master of erotic art, Manet, Renoir, Gauguin, Picasso, Impressionism, Vermeer, Cezanne

A box of assorted art books, including Degas, Van Gogh, Klimt, Matisse, Manet etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

A box of assorted art books, including Pissarro, Toulouse-Lautrec, Manet, Rosai etc. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years

Gérard Schlosser (born 1931)Ça donne dans une cour 1977 signé, titré et daté 77 au reversacrylique sur toile sablée signed, titled and dated 77 on the reverseacrylic and sand on canvas189.5 x 189.5 cm.74 5/8 x 74 5/8 in.Footnotes:Provenance Galerie Beaubourg, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel ExpositionsParis, Galerie Beaubourg, FIAC, 1977, p. 37, illustré en noir et blancParis, Galerie Beaubourg, Schlosser, 1981, p. 25, illustré en couleur Paris, Pavillon des Arts, Une journée à la campagne, 1983, p. 28, illustré en couleurReims, Maison de la culture André Malraux, Pays paysages, 1984, non paginé, illustré en couleur Exposition itinérante, Pernod Mécénat, Aspect de la Figuration dans les années 60, 1990, p. 67, illustré en couleurLittératureAlain Jouffroy, Gérard Schlosser, Paris 1993, p. 126, illustré en couleur ; p. 241, illustré en noir et blanc Anne de Marnhac, Séducteurs et séductrices de Casanova à Lolita, Paris 2002, p. 169, illustré en couleur Jean-Luc Chalumeau, La Nouvelle Figuration. Une histoire de 1953 à nos jours, Paris 2003, p. 112, illustré en couleurBernard Noel, Gérard Schlosser, Paris 2008, p. 152, cat. 122, illustré en couleur Pierre Nahon, L'Histoire de la Galerie Beaubourg, Paris 2009, p. 102, illustré en couleur Gérard Schlosser et Pearl Huart-Cholley, Gérard Schlosser Catalogue Raisonné, Paris 2020, p. 103, n° 287, illustré en couleurLes œuvres de Gérard Schlosser, qui capturent des visions séductrices de son époque, sont autant de vignettes intimes qui titillent et évoquent les titans de la peinture moderne, au premier rang desquels figure Édouard Manet dans sa représentation de bars et de jardins, ou encore Gustave Courbet dans L'Origine du monde (1866), œuvre iconique s'il en fut. Schlosser, qui ne se considère pas lui-même comme un artiste du Photoréalisme, se rapproche beaucoup plus du Pop Art et de la Figuration Narrative. Ses peintures, en particulier Ça donne dans une cour (1977), Je n'en trouve qu'une (1988), et Ce n'est pas loin d'ici (1989), sont l'expression d'un Modernisme revivifié, qui immortalisent des instants de la vie au quotidien, rendus avec un art du détail absolument superbe. Les œuvres de l'artiste ont deux points communs avec le Pop Art : la nudité et la sincérité qui scrutent l'œil libéré du spectateur, exposant tout au regard de l'artiste. Chez Jacques Monory comme chez James Rosenquist, chez Richard Hamilton comme chez Gérard Schlosser, la nature libidinale de l'image médiatisée et du consumérisme saute aux yeux dans des toiles monumentales et saisissantes. Nous présentons ici quatre toiles élégantes qui sont emblématiques de l'œuvre de l'artiste français ; des fragments intenses qui restituent en les réinventant des mouvements fugaces de la vie quotidienne.Capturing seductive visions of his time, Gérard Schlosser's paintings offer intimate vignettes that titillate and evoke the titans of Modern painting, not least in the bars and gardens of Édouard Manet, or the iconic L'Origine du monde (1866) by Gustave Courbet. Schlosser, who does not consider himself a Photorealist artist, aligns himself much more closely with Pop Art and Figuration Narrative. What presents itself in paintings such as Ça donne dans une cour (1977), Je n'en trouve qu'une (1988), and Ce n'est pas loin d'ici (1989), therefore, is a revived Modernism that captures the everyday up close, rendered in superb detail. What the artist's paintings have in common with Pop Art is a nakedness and sincerity that scrutinises the liberated eye of the spectator, exposing everything to the gaze of the artist. In Jacques Monory as in James Rosenquist, in Richard Hamilton as in Gerard Schlosser, the libidinal nature of the mediated image and consumerism is brought to the fore over monumental, thrilling canvases. Presented here for sale are four elegant canvases that are exemplary works by the French artist; intense fragments that reimagine fleeting moments of everyday life. For further information on this lot please visit Bonhams.com

Berthe Morisot (French 1841-1895) Young Girl with a Cat, after a portrait of Julie Manet by Renoirdrypoint etching, cancelled plate12.5 x 10.5cmCondition report: The work is unsigned and unframed, but hinge mounted with tape along the top edge. The surface is typically toned and with some light undulation, one small foxing mark at the top edge of the image.

Édouard Manet (French 1832-1883) Portrait of Charles Baudelairetext within the plate reads 'Paint et Gravé par Manet 1865' and 'Imp. A. Salmon'; Folio Society label to the reverseetching, unframed11 x 10cm

Antoni Sulek (1951- 1988) - Lady in fur, after Manet, signed, further inscribed verso, oil on board, 55.5 x 45.5cms, in a moulded frame.

FOLLOWER OF EDOUARD MANET 1832-1883 OIL ON PANEL OF WOMAN READING LETTER - 33CM X 41CM - NICE CONDITION, PANEL STRONG - NO SPLITS

A John Heseltine painting of a young girl holding her cat, a framed print of a river scene, unsigned and a Edouard Manet print sketch for le Dejeuner Sur L'herbe 1863.