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LOUIS VALTAT (FRENCH 1869-1952) TÊTE DE CEZANNE Plaster Height: 29cm (11¼ in.)Executed circa 1910. Condition Report: There is a crack to the left side of the head above the ear. Some surface dirt but otherwise, in generally good condition.Condition Report Disclaimer

Steain Goldsteain (American, 20th C.)"Tribute to Cezanne"Acrylic on Canvas. Signed lower right.Sight Size: 40 x 30 in.Overall Framed Size: 49 x 39 in.

MONET CLAUDE: (1840-1926) French Impressionist painter. An exceptional A.L.S., Claude Monet, one page, 8vo, Giverny par Vernon, Eure, n.d. (´Mardi soir´; 10th December 1895), to Gustave Geffroy, in French. Monet commences his letter by enquiring ´Et puis mon cher Geffroy, qu´est-ce que cette histoire de Claude Lantier qui n´est pas plus Cézanne que Manet bien que Zola ait eu la pensée de peindre ce dernier et d´en faire un raté´ (Translation: ´And then, my dear Geffroy, what is this story about Claude Lantier, who is no more Cézanne than Manet, even though Zola had the idea of painting the latter and making him a failure?´) and continues to remark ´Plus j´y pense plus je vois là pour vous matière à un superbe article rétablissant en fait et rendant justice au pur artiste qu´est Cezanne. Mais je suis certain que vous avez pensé comme moi´ (Translation: ´The more I think about it, the more I see material here for a superb article restoring the facts and doing justice to the pure artist that Cézanne was. But I'm sure you've thought the same as me´). With blank integral leaf. Accompanied by the original envelope hand addressed by Monet. A letter of wonderful content in praise and defence of Paul Cézanne. VGGustave Geffroy (1885-1926) French journalist, art critic and historian, a friend and champion of Monet.Paul Cézanne (1839-1906) French Post-Impressionist painter.The French novelist Emile Zola (1840-1902) had been a childhood friend of Cézanne, encouraging the artist in the pursuit of his chosen career. Cézanne was best man at Zola´s wedding in Paris in May 1870, however by the end of the decade the two men were growing more distant and the unassuming Cézanne, aware of his inadequacies, began to doubt himself. In 1886 Zola, who had become to regard his friend as a failure, published his roman à clef. L´Oeuvre, the fourteenth novel of hus Rougon-Macquart series. The protagonist of the work is Claude Lantier, a revolutionary artist whose work is misunderstood by an art-going public hidebound by traditional subjects, techniques and representations. Lantier does not achieve the realisation of his goals and commits suicide. The book is often blamed for ending the friendship between Cézanne and Zola. The story of a groundbreaking artist unable to live up to his potential must have seemed intensely personal to Cézanne; no correspondence exists between the two after a letter in which Cézanne thanks Zola for sending him the novel.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful, visually appealing A.L.S., Picasso, one page, slim folio (approximately 10.5 x 56.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes Maritimes, 18th December 1963, to Max [Pellequer] (´Mon cher Max´), in French. Writing in bold purple ink on an unusual sheet of fine watermarked folding stationery, Picasso states, in full, ´Voici le chèque (n'est plus présent) que vous me demandez. Le courrier part de suite. Amitiés de nous deux. Je vous embrasse´ (Translation: ´Here is the cheque (no longer present) you asked me for. The post is going out right away. Best wishes from both of us. I kiss you´). As well as adding a paraph beneath his signature, Picasso has filled the base of the page with a simple purple spiralling squiggle, transforming the letter into a piece of artwork in its own right. About EXMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.For Picasso, everything that passed through his hands was immediately transformed into a work of art, and the present letter is no exception.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 22nd November 1951, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes to make a request of his friend, ´Pour une exposition que m´intéresse beaucoup je voudrais que vous prétiez le tableau de la femme à la taie dans l´oeil de votre collection. Faites mois ce plaisir. Monsieur Aparicio est chargé de organiser cette exposition (vous pouvez à Sabartes qui est au courant)´ (Translation: ´For an exhibition that interests me greatly, I would like you to lend me the painting of la femme à la taie from your collection. Please do me this favour. Mr Aparicio is in charge of organising this exhibition (you can ask Sabartes, who is aware of this)´), and continues to add that he does not know when he will go to Paris, remarking ´Je suis fou de travail et je n´ose pas laisser trop de choses commencées sans a peu-près les terminer´ (Translation: ´I am swamped with work and don't dare leave too many things half done without finishing them´). A letter of good content for its reference to Picasso´s famous portrait La Celéstine. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Jaime Sabartes (1881-1968) Spanish artist, poet and writer, a close friend of Pablo Picasso who would later become his secretary and administrator.La Celéstine (la femme à la taie) was created by Picasso in 1904, before his definitive departure from Barcelona to Paris, and marks the end of the artist´s famous blue period. The portrait is of Carlotta Valdivia, a Barcelona brothel owner, who becomes the enigmatic image of La Celestina, a matchmaker who, in Fernando de Rojas's eponymous work, is paid to foster Calixte's passion for Melibea. Also known as The Tragicomedy of Calixte and Melibea, this sixteen-act work recounts the misadventures of various characters who all meet a tragic end, with death triumphing over love corrupted by money. Once owned by Max Pellequer, the painting is now housed in the Musée Picasso in Paris.

ROQUE JACQUELINE: (1926-1986) French model, muse and the second wife of Pablo Picasso from 1961. A.L.S., Jacqueline, to the verso of a colour postcard (the recto featuring an image of Picasso´s portrait La Celéstine), n.p., n.d., to Max [Pellequer], in French. Roque writes, ´Picasso me dit qu´il retrouve pas la derniere lettre de M. Vaidis, voilà´ (Translation: ´Picasso tells me he can't find Mr. Vaidis' last letter. Here it is´) and concludes by sending her warm regards. A few heavy creases to the left and right edges, only very slightly affecting the text and signature, GMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso (including La Celéstine), as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, to the verso of an 8vo printed invitation card to the 4th exhibition of works by candidates for the Paul Guillaume Prize at Bernheim Jeune from 1st - 8th December 1938, n.p., n.d. (December 1938?), to [Max] Pellequer, (´Mon cher ami´), attractively written in bold blue crayon, in French. Picasso writes, in full, ´Impossible d´aller vous voir ce matin. Vous pouvez donner la boite au porteur - et merci. Bien à vous et à cette après-midi ou demain matin´ (Translation: ´I won't be able to come and see you this morning. You can give the box to the delivery person - and thank you. Best wishes for this afternoon or tomorrow morning´). VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful illustrated A.L.S., Picasso, one page, oblong 4to, La Californie, Cannes, Alpes-Maritimes, 22nd October 1959, to Max [Pellequer] (´Mon cher Max´), in French. Picasso forwards a cheque (no longer present) for the Union de recouvrement de Sécourité Sociale in Nice, and continues ´M.J'ai demandé à Monsieur Bach à Vauvenargues les renseignements que vous me demandez.Je vais les recevoir de un instant à l'autre´ (Translation: ´I have asked Mr Bach in Vauvenargues for the information you requested. I should receive it any moment now´), further sending his best wishes to Pellequer´s wife, and concluding with a curious phrase, ´Court mon aiguille dans la laine......´ (Translation: ´Run my needle through the wool......´). To the upper left corner of the page Picasso has added a beautiful and vibrant original illustration of the brightly shining sun, drawn in blue, orange, green, yellow and black crayons; the orange and blue rays of the sun formed around two circles, one green and one yellow, and with a black dot in the centre. A magnificent and rare illustrated letter by Picasso. A couple of very light, extremely minor creases, and with a small, neat tear to the lower edge, close to, but not touching the paraph of Picasso´s signature. VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.

Harold Christopher Davies (American, 1891-1976)'Huntsville (Alabama Series)' 1956, signed, titled and dated verso, oil on canvas, 61cm x 76cmBorn in Seattle, WA, Harold Christopher Davies’ family soon moved to Virginia. At the age of 14, Davies began studying art at the Corcoran in Washington, DC and furthered his studies at the San Francisco Institute of Art.Davies began a career in business causing him to relocate to Huntsville, Alabama (1945-57) and then Long Island, NY until 1969 before retiring to California where he kept a studio on Tomales Bay in Inverness. Painting all the while, Davies was finally able to devote his later years exclusively to painting. An abstract expressionist, his style was directly influenced by Cezanne, Gorky and de Kooning. Being a man of intense dedication to his art, he kept extensive notebooks and sketchbooks in which he developed his own artistic and aesthetic philosophy, often through his candid critiques of other artist’s works.

Rolf Harris (Australian 1930-): 'Mending the Nets' 'Mont Sainte Victoire - Homage to Cezanne' and 'Christmas Eve in the Snow', three limited edition giclee prints signed and numbered 53/295, 206/295 and 145/196, max 44cm x 60cm (3)

KARL GUSTAV GUNSAM* ( Wien 1900 - 1972 Wien )Konvolut mit verschiedenen Beigaben1| Karl Gustav Gunsam* ( Wien 1900 - 1972 Wien )Kopfhaltung, 1945Bleistift/Papier 15 x 10,6 cmdatiert 7.6.45beschriftet Tiroler Schützen in Kampo in Risaverso Nachlassstempel K. GunsamBeigabe: 1| Georg Pevetz* ( Pettau 1893 - 1971 Wien )Mein Bett, 1940Bleistift/Papier 14,7 x 10,5 cmsigniert Pevetz, datiert 3.5.1940beschriftet Fliegerhorst, Ausbildungsbataillon, Kamenz2 | Georg Pevetz* ( Pettau 1893 - 1971 Wien )Mein Kasten, 1940Bleistfit/Papier 14,8 x 10,5 cmsigniert Pevetz, datiert V. 1940beschriftet Mein Kasten, Kamenz, Fliegerhorst, Spind geordnet!3 | Heinrich Tomec ( Orag 1863 - 1928 Wien )Rax, 1913Bleistift/Papier 13,3 x 18,5 cmsigniert Tomes, datiert 1913Beschriftet Zeichnung RaxSCHÄTZPREIS / ESTIMATE °€ 50 - 100STARTPREIS / STARTING PRICE °€ 50Karl Josef Gunsam war ein österreichischer Künstler. Gunsam studierte neben seiner Tätigkeit als Fußballprofi zunächst Malerei an der Akademie Vitti in Paris, dann bei Dobrowsky (dessen Assistent er lange Zeit war) und Kolig an der Akademie der Bildenden Künste in Wien. Später unternahm er Studienreisen nach Frankreich, Italien, Griechenland und in die USA. Ab 1932 Mitglied des Hagenbundes, ab 1945 der Secession. Gemalte Landschaften, Stillleben und Porträts (Cezanne-Verehrer). Er nahm an zahlreichen Ausstellungen in Wien teil. 1958 erhielt er den Titel eines Professors. Gunsam spezialisierte sich auf architektonisch konstruierte Landschaften in kräftigen Farben. - Georg Pevetz war ein österreichischer Maler und Grafiker. Pevetz malte meist starkfarbige und expressive Landschaften, Akte und Stillleben und in den späten Jahren auch Abstraktionen. Als Graphiker schuf er Holzschnitte, Radierungen und Lithographien, mit meist expressiven Elementen. 1912 bis 1914 und 1919 bis 1921 studierte er sowohl an der Wiener Akademie bei R. Jettmar, R. Bacher und J. Jungwirth Malerei als auch Kunstgeschichte an der Wiener Universität bei M. Dvorak. 1921 pomovierte er dort zum Dr. phil. 1914 bis 1918 leitete er Kriegsdienst, wobei er in britische Gefangenschaft geriet. Um 1922 knüpfte Pevetz Kontakte zum Nötscher Kreis um Wiegele und Kolig. Ab 1922 bis Anfangs der 1930er-Jahre unternahm er Studienreisen durch Deutschland, Frankreich, Holland, Schweden, Kroatien, Bosnien und Slowenien, wobei er längere Zeit in Berlin und Paris verbrachte. Er war mit M. Slevogt, M. Liebermann, A. Vollard, M. D. Vlaminck und H. Matisse bekannt. 1933 bis 1940 kam er Lehrtätigkeiten in Wien (Realgymnasium) und Villach nach. 1940 wurde er erneut eingezogen. Aus französischer Kriegsgefangenschaft kehrte er 1946 zurück. Er ließ sich in Egg am Faakersee nieder und übernahm eine Lehrtätigkeit in Villach. 1953 wurde Pevetz pensioniert und übersiedelte nach Wien. Pevetz war Mitglied des kurzlebigen Wiener Kunstvereines „Brücke“, der „Kunstschau“ und 1926- bis 1928 des Hagenbundes; ab 1930 war er Mitglied des Wiener Künstlerhauses. Bedeutende Werke von Georg Pevetz: Glasfensterentwürfe: Taufkapelle in Angern (N.Ö.), Kirche in Föhrenau (N.Ö.), Votivkirche Wien (grosse Rosette). Kollektiven zu Lebzeiten: z. B. 1926 Galerie Würthle Wien, 1928 Kunsthalle Hamburg, 1931 Wiener Künstlerhaus, 1934 Galerie Würthle, 1948 Neue Galerie Graz, 1956 Österreichische Staatsdruckerei Wien. Werke von Pevetz befinden sich in folgenden Sammlungen: Belvedere, Albertina, Wien Museum, Kärntner Landesgalerie Klagenfurt, Joanneum Graz, Museum Niederösterreich, Gemeentemuseum Den Haag, Puschkin Museum Moskau, British Museum London, Museum Villach. Ehrungen, Preise (Auswahl): 1914 Akademiepreis für Aktzeichnen; 1953 Goldmedaille des Wiener Künstlerhauses; 1963 Goldener Lorbeer des Wiener Künstlerhauses; 1969 Österreichisches Ehrenkreuz für Wissenschaft und Kunst; Ehrengrab am Friedhof Wien-Hietzing. - Heinrich Tomec war ein österreichischer Künstler und Schwager des Malers J. N. Geller. Als Maler schuf Tomec vor allem impressionistische Landschaften mit Motiven aus der Wachau, Wien-Umgebung und Böhmen, insbesondere Prag. 1879 bis 1884 wirkte er als Theatermaler in der Werkstätte des Tschechischen Theaters in Prag, 1887 bis 1892 studierte er an der Wiener Akademie Malerei bei E. von Lichtenfels. 1896 bis 1900 war er Mitglied des Wiener Künstlerhauses und 1900 Gründungsmitglied des Hagenbundes. 1901 kehrte er zum Wiener Künstlerhaus zurück. Tomec wird gemeinsam mit J. N. Geller, M. Suppantschitsch, E. Strecker zu den sogenannten „Wachaumalern“ gezählt. Er schuf Illustrationen für das Werk „Die Österreichisch-Ungarische Monarchie in Wort und Bild“. Werke von Heinrich Tomec befinden sich in folgenden Sammlungen: Österreichische Galerie Belvedere, Albertina, Museum der Stadt Wien, Museum Niederösterreich, Narodni Muzeum Prag. Ehrungen, Preise (Auswahl): 1900 Mention honorable Weltausstellung Paris; 1905 Große Goldene Staatsmedaille; 1906 Goldmedaille in Bukarest; 1909 Karl-Ludwig-Medaille; 1910 Kaiser-Preis; 1911 Franz-Joseph-Orden; 1912 Große Silbermedaille Amsterdam. Weiterführende Künstler und Begriffe: Expressionismus, Landschaft, Ölmalerei, Aquarell , Stillleben, Meer, See, Gebirge, Porträt, Josef Dobrowsky, Franz Grabmayr, Herbert Boeckl, Anton Faistauer, Alfons WaldeBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

ANTON FAISTAUER ( St. Martin bei Lofer 1887 - 1930 Wien )ZilliLithografie/Papier 37,2 x 29,2 cmbeschriftet im Druck ZilliSCHÄTZPREIS / ESTIMATE °€ 60 - 80STARTPREIS / STARTING PRICE °€ 60Österreichischer Maler des 20. Jahrhunderts. Gilt als bedeutendster Salzburger Maler der Moderne. 1904 bis 1906 an der privaten Malschule von R. Scheffers, 1906 bis 1909 an der Akademie der bildenden Künste Wien bei Alois Delug und Christian Griepenkerl. 1909 gemeinsam mit Egon Schiele, Anton Kolig, Robin Christian Andersen und Franz Wiegele Gründung der Neukunstgruppe. Ausstellungen im Kunstsalon Pisko, in Budapest, München und in Wien im Hagenbund. 1913 Heirat mit der Schwester von Robin Christian Andersen, im gleichen Jahr Ausstellung in der Galerie Miehtke. 1919 in Salzburg mit Felix A. Harta Gründung der Künstlergruppe Wassermann. Gestaltung der Fresken für das Salzburger Festspielhaus. Intensive Auseinandersetzung mit den Werken von Paul Cezanne, Entwicklung eines gemäßigten Expressionismus. Schuf v.a. Landschaften, Stillleben und Porträts. Gestaltete das Plakat für die Ausstellung österreichischer Kunst 1917 in der Liljevalchs Kunsthalle in Stockholm, Schweden. Stellte dort neben Gustav Klimt, Egon Schiele, Oskar Kokoschka und Anton Hanak als Hauptvertreter der österreichischen Moeder aus. Weiterführende Künstler und Begriffe: Johann Georg Platzer, Ferdinand Georg Waldmüller, Friedrich von Amerling, Otto Wagner, Eduard Ameseder, Carl O’Lynch of Town, Richard Gerstl, Max Domenig, Robin Christian Andersen, Egon Schiele, Paul Kassecker, Hans Kneslm Heinz Leinfellner, Rudolf Hausner, Joannis Avramidis, Maximilian Melcher, Alfred Hrdlicka, Friedensreich Hundertwasser, Arik Brauer, Wolfgang Hollegha, Anton Lehmden, Josef Mikl, Ernst Fuchs, Armin Pramstaller, Cornelius Kolig, Meina Schellander, Franz West, Gottfried Helnwein, Manfred Deix, Heimo Zobernig, Gunter Damisch, Daniel Richter, Monica Bonvicini, dorit Margreiter, Herbert Boeckl, Josef Dobrowsky, Albert Paris Gütersloh, Landschaft, Stillleben, Stadtansichten, Gebirge, Porträts, ÖlmalereiBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

ROBIN CHRISTIAN ANDERSEN* ( Wien 1890 - 1969 Wien )Drei Birnen, um 1936Kohle/Papier 22,3 x 30 cmverso Nachlassstempel R. C. AndersenSCHÄTZPREIS / ESTIMATE °€ 60 - 100STARTPREIS / STARTING PRICE °€ 60Österreichischer Maler des 20. Jahrhunderts. Sein Vater Christian Georgius Andersen stammte aus Dänemark und führte ab 1880 in Wien eine Werkstätte für Dekorationsmalerei. Andersen besuchte 1905 bis 1907 die Malschule Robert Scheffer in Wien, gemeinsam mit Anton Faistauer, Gustav Schütt, Anton Peschka und John Quincy Adams. 1907 bis 1908 an der Malschule von Gustav Bauer (ehem. Heinrich Strehblow). 1909 und 1910 mit Anton Faistauer und Gustav Schütt Reisen zum Monte Verità bei Ascona in der Schweiz. Mit Egon Schiele, Anton Faistauer, Albert Paris Gütersloh und Anton Kolig in der Neukunstgruppe, auch Mitglied der Kunstschau und später der Neuen Secession und des Sonderbundes. 1913 heiratete seine Schwester Ida Andersen den Maler Anton Faistauer. Ab 1920 war RObin Christian Andersen Mitglied im Hagenbund, 1921 Mitbegründer der Wiener Gobelinmanufaktur und Teilnahme an Ausstellungen der Salzburger Vereinigung Wassermann. Bekannte Schüler waren Franz Elsner, Lisi Engels, Kurt Absolon, Eduard Angeli, Joannis Avramidis, Liselott Beschorner, Johann Fruhmann, Leopold Ganzer, Franz Grabmayr, Giselbert Hoke oder Alfred Kornberger. Blieb der figurativen Darstellungsweise treu, schuf v.a. Porträts, Landschaften und Stillleben. Intensive Auseinandersetzung mit Paul Cézanne, malerischer Expressionismus von Farbe und Form mit Annäherung an die Neue Sachlichkeit. Werke v. a. im Besitz des Leopold Museum, der Albertina und der Österreichischen Galerie Belvedere. Weiterführende Begriffe und Künstler: Wiener Moderne, Neue Sachlichkeit, Expressoinismus, Paul Cezanne, Anton Faistauer, Anton Kolig, Albert Paris Gütersloh, Egon Schiele, Herbert Boeckl, Alfred Kornberger, Ölmalerei, Grafik, Stillleben, FigurationBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

KARL JOSEF GUNSAM* ( Wien 1900 - 1972 Wien )Agrinium, 1944Bleistift/Papier 24 x 32 cmdatiert 44, beschriftet Agriniumverso Nachlassstempel K. GunsamSCHÄTZPREIS / ESTIMATE °€ 50 - 100STARTPREIS / STARTING PRICE °€ 50Karl Josef Gunsam war ein österreichischer Künstler. Gunsam studierte neben seiner Tätigkeit als Fußballprofi zunächst Malerei an der Akademie Vitti in Paris, dann bei Dobrowsky (dessen Assistent er lange Zeit war) und Kolig an der Akademie der Bildenden Künste in Wien. Später unternahm er Studienreisen nach Frankreich, Italien, Griechenland und in die USA. Ab 1932 Mitglied des Hagenbundes, ab 1945 der Secession. Gemalte Landschaften, Stillleben und Porträts (Cezanne-Verehrer). Er nahm an zahlreichen Ausstellungen in Wien teil. 1958 erhielt er den Titel eines Professors. Gunsam spezialisierte sich auf architektonisch konstruierte Landschaften in kräftigen Farben. Agrinio (lateinisch: Agrinium) ist die größte Stadt der griechischen Region Ätolien-Akarnanien und deren größte Gemeinde. Nach Patras ist sie die zweitgrößte Stadt Westgriechenlands. Sie ist das wirtschaftliche Zentrum Ätolien-Akarnaniens, obwohl die Hauptstadt Mesolonghi ist. Die Siedlung reicht bis in die Antike zurück. Das antike Agrinion lag drei Kilometer nordöstlich der heutigen Stadt; einige Mauern und Fundamente wurden ausgegraben. Im Mittelalter und bis 1836 hieß die Stadt Vrachori. Weiterführende Künstler und Begriffe: Expressionismus, Landschaft, Ölmalerei, Aquarell , Stillleben, Meer, See, Gebirge, Porträt, Josef Dobrowsky, Franz Grabmayr, Herbert Boeckl, Anton Faistauer, Alfons WaldeBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

KARL JOSEF GUNSAM* ( Wien 1900 - 1972 Wien )Agrinium, 1943Bleistift/Papier 24,7 x 32 cmsigniert K. Gunsam, datiert 43beschriftet Agriniumverso Nachlassstempel K. GunsamSCHÄTZPREIS / ESTIMATE °€ 50 - 100STARTPREIS / STARTING PRICE °€ 50Karl Josef Gunsam war ein österreichischer Künstler. Gunsam studierte neben seiner Tätigkeit als Fußballprofi zunächst Malerei an der Akademie Vitti in Paris, dann bei Dobrowsky (dessen Assistent er lange Zeit war) und Kolig an der Akademie der Bildenden Künste in Wien. Später unternahm er Studienreisen nach Frankreich, Italien, Griechenland und in die USA. Ab 1932 Mitglied des Hagenbundes, ab 1945 der Secession. Gemalte Landschaften, Stillleben und Porträts (Cezanne-Verehrer). Er nahm an zahlreichen Ausstellungen in Wien teil. 1958 erhielt er den Titel eines Professors. Gunsam spezialisierte sich auf architektonisch konstruierte Landschaften in kräftigen Farben. Agrinio (lateinisch: Agrinium) ist die größte Stadt der griechischen Region Ätolien-Akarnanien und deren größte Gemeinde. Nach Patras ist sie die zweitgrößte Stadt Westgriechenlands. Sie ist das wirtschaftliche Zentrum Ätolien-Akarnaniens, obwohl die Hauptstadt Mesolonghi ist. Die Siedlung reicht bis in die Antike zurück. Das antike Agrinion lag drei Kilometer nordöstlich der heutigen Stadt; einige Mauern und Fundamente wurden ausgegraben. Im Mittelalter und bis 1836 hieß die Stadt Vrachori. Weiterführende Künstler und Begriffe: Expressionismus, Landschaft, Ölmalerei, Aquarell , Stillleben, Meer, See, Gebirge, Porträt, Josef Dobrowsky, Franz Grabmayr, Herbert Boeckl, Anton Faistauer, Alfons WaldeBitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

POST-IMPRESSIONISM. A selection to inc. Bonnard, Cezanne, Van Gogh, Toulouse-Lautrec, Gauguin. All in at least VG condition. Some expensive volumes.

After Paul Cezanne, 20th century, Houses in Provence: The Riaux Valley near L'Estaque, oil on panel, 39 x 52cm

After Paul Cezanne, 20th century, The Great Pine, oil on panel, 43 x 44cm

After Paul Cezanne, 20th century, The Banks of the Marne, oil on panel, 40 x 54cm

After Paul Cezanne, 20th century, Still Life with Fruit, oil on panel, 40 x 48cm

Ada Augusta Wolfe (American, 1878-1945). Oil on canvas laid board titled "Old Road," 1940. Depicting a verdant landscape. Signed along the lower left. Signed, titled, and dated along the verso.Lot Essay:Ada Augusta Wolfe, born in Oakland, California in 1878, moved to Minneapolis at 11 and studied at the Minneapolis School of Art and the Art Students League in New York under notable artists like William Merritt Chase and Frank Vincent DuMond. Her work, influenced by painters like Rembrandt and Cezanne, won awards, including first prize at the Minnesota State Fair in 1914 for "Sails on Lake Minnetonka." Wolfe's artistic philosophy emphasized freedom and rebellion against commercialism. She taught art in Minneapolis and is featured in the book "Pioneer Modernists - Minnesota's First Generation of Women Artists" alongside other prominent Minnesota artists including: Wanda Gag, Frances Greenman, Clara Mairs, Alice Hugy, Elsa Laubach Jemne, Evelyn Raymond, and Jo Lutz Rollins.Unframed; height: 11 in x width: 14 in. Framed; height: 14 1/4 in x width: 17 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no major losses. There are signs of inpainting and restoration that fluoresce under UV light, primarily along the sky and the tree along the right edge. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame. Soiling to the verso.

INGRES, JEAN AUGUSTE DOMINIQUE1780 Montauban - 1867 ParisTitel: Studie nach den Armen und Händen der Princesse Pauline de Broglie. Entwurfszeichnung zu dem Gemälde in der Sammlung Lehman des Metropolitan Museum, New York. Datierung: 1850-53. Technik: Schwarzer Kreide auf Pauspapier. Montierung: Kaschiert. Maße: 31,5 x 30cm. Bezeichnung: Atelierstempel unten rechts: "JI", sowie oben rechts in Spiegelschrift (da rückseitig auf dem Pauspapier): "étude d'apres Me la Princesse de Broglie". Rahmen: Rahmen.Der Atelierstempel ist verzeichnet bei Lucht unter der Nummer L. 1477.Gutachten:Hans Naef, Zürich 06.04.1987.Ausstellung:"De Watteau à Cezanne". Musée d'art et d'histoire, Genf 1951, Nr. 157.Provenienz:Sammlung Konrad Klapheck, Düsseldorf;Galerie Jan Krugier, Genf 1995;Privatbesitz, Schweiz;Sammlung René Engel, Genf, als Teil eines Zyklus aus acht Zeichnungen. Voraussichtliche Versandkosten für dieses Los: Deutschland: 44,00 Euro inkl. 7,03 Euro MwSt EU: 70,00 Euro inkl. 11,18 Euro MwSt Weltweit: 120,00 Euro inkl. 19,16 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Jean Auguste Dominique Ingres Frankreich Orientalismus 19.Jh. Handzeichnungen Rahmen Figur / Figuren Studie

▲ Howard Carter (b.1938) 'Cezanne Still Life III' carved wood, signed and dated '1998' to a label on the reverse62cm wide53cm deep38cm highCondition Reportgood order with light cosmetic wear and dirt, it seems that measurements are inaccurate and should read 62cm wide 53cm deep 38 cm high ...I have included some photos that show the scale, there are some small chips to the paint and a small crack visible in the just which looks to be as a result of the timber drying out

Two boxes of Cezanne reference books

Three boxes of various books to include Rembrandt, Egon Shiel, Francis Bacon, Paul Cezanne

Three boxes of various art books including Anthony Gross, Hogarth, Hokusai, Cezanne etc.

Paul Cezanne sketch book 1875-1885, limited edition of 20/525, published by Johnson Reprint Corporation

Interpreting Cezanne by Paul Smith softback book. Charity book auction. 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

Tom WESSELMANN (1931-2004) , D’Après.Monica Nude with Cezanne..Epreuve en couleur sur papier Rives, signé en bas à droite. Numéroté 5/90.37,5 x 56,5 cm

Mary Swanzy HRHA (1882-1978) Pont Du Gard Oil on canvas, 53.3cms x 45.7cms (21" x 18") Signed lower left, and versoProvenance: With Pyms Gallery, London, label versoMary Swanzy was a keen traveller for much of her life, so perhaps it is not surprising that she found the inspiration for most of her best work during time spent abroad. That includes a visit to Eastern Europe and, most famously, the South Seas, but also Paris and the South of France (the latter, notably, in 1918). A notably strait-laced individual, her temperament seems at odds with the bohemian circles in which she worked in Paris: she seemed to relax considerably in warmer, more laid-back  environments. On her way back from her South Sea trip, stopping off with a friend in Santa Barbara in 1924 to paint for a time, she wrote to Sarah Purser,  responding to the idea of visiting Spain: “…for painting, I still long for the tropics.” Perhaps, she suggested, Purser could explore Ceylon with her. “However,” she continues “if one could recapture the rapture of those…days in Provence, one would be tempted.”Van Gogh and, perhaps more than any artist, Cezanne, had established Provence as essential painterly terrain, and Swanzy was recurrently drawn to the South of France, spending time in St Tropez, Grasse and Nimes - the location for this fine painting - and more. Highly regarded in France, she exhibited regularly in avant garden circles. Location and style are often the best way to date her work, and the exceptional freedom and direct observation evident in this work with its atmospheric celebration of warmth and light, seeming to evoke the “rapture” she mentions to Purser, place it apart from her sustained exploration of a form of Orphic Cubism, close to the work of Ukrainian-born Sonia Delaney, (nee Stern) and her husband Robert.It’s reasonable to infer the influence of Cezanne in the colour palette, broad brushstrokes and volumetric organisation of the elements of landscape, with the celebrated Roman aqueduct on the Gardon River mentioned in the title (though the actual structure is simplified in the painting).Born in Dublin (her father was instrumental in establishing the Royal Victoria Eye and Ear Hospital), she attended Alexandra College with spells in France, Germany and Switzerland, going on to the Metropolitan School of Art and studies in Paris. Her family envisaged her becoming a portrait painter but she was reluctant if more than capable (society would not take a woman seriously as a portrait painter, she felt). She exhibited widely and consistently even as she travelled. From around 1926 she lived in London while continuing to exhibit in Ireland. Her later work took a dark, allegorical turn, with Surrealist elements and a tendency towards obscure, fantastical symbolism.Aidan Dunne, February 2025 

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in pale blue, yellow, black, and green, 1937. Dated "1/37" along the lower right. With a label from Grace Borgenicht Gallery, New York affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink, gouache, and pen on paper painting titled "Study for Painting, Paris, January 1937" depicting abstracted shapes in yellow, black, and white, 1937. Pencil signed and dated "P 1/37" along the lower left.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 17 in x width: 14 in. Framed; height: 19 1/4 in x width: 16 1/4 in x depth: 1 1/2 in.Condition: The sheet is slightly toned. The colors are bold and bright. There is a slight undulation to the sheet. Light soiling throughout, as expected from a study. The work is floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Trees, 1934;  oil on board, signed and dated on the reverse 'L Gowing June 1934', 28 x 39.3 cm (unframed) (ARR)  Provenance:  the Studio of the Artist;  private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Sir Lawrence Gowing CBE RA,  British 1918-1991 -  Abstract study, c.1960s;  oil on canvas, 25.5 x 35.5 cm (unframed) (ARR)  Provenance:  the Studio of the Artist;  private collection Note: an accomplished portrait and landscape painter, Gowing was a pupil of William Coldstream and protege of Bloomsbury art critic Clive Bell. His sitters include Lord Attlee and Lord Halifax. He went on to become an acclaimed art historian and curator, writing books and exhibition catalogues on Vermeer, Hogarth, Cezanne, Turner, Matisse and Lucien Freud. In 1985 he was appointed honourary curator of the Royal Academy of Arts collection.

Konvolut Mappen zu moderner Kunst, u.a. G.F. Hartlaub, „Die Fauves“, Paris 1950; „Franz Marc“ mit zehn Farbtaf., München 1948; „Oskar Schlemmer“, Verlag Dieter Keller Stuttgart 1948; „Cezanne“, Edition du Chêne, Paris 1950, „Monet“, Edition Holbein Basel 1947 sowie Jean Arp- und Hans Richter-Broschüren.

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

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good illustrated A.L.S., Picasso, one page, 4to, Cannes, 17th January 1956, to Max [Pellequer], in French. Picasso writes a brief letter, in full, ´Oui mon cher Max, je les ai recues et 100,000 et plus de fois merci´ (Translation: ´Yes, my dear Max, I've received them 100,000 times over, thank you´). Above his message of three lines Picasso has added an original blue ink drawing in his hand, which dominates the page, and depicts a bottle of wine standing alongside a glass. A simple yet highly appealing illustrated letter on a theme which recurred in many of Picasso´s artworks during his career. Some light, minor creasing and a few small tears to the edges, not affecting the text or illustration. About VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.´Picasso permanently relocated to Paris in 1904. He spent the remainder of his life and artistic career living in France……Alcohol was an important facet of French artists’ social scene and of their art. Bars, cafes, and other drinking establishments often served as meeting places and hangouts for artists of the generations immediately preceding Picasso, and it is no surprise that they frequently took these places and their wares as subjects for their works……..Picasso, like other artists living in France at the time, was the inheritor of the cultural ripples of alcohol, as well as of the visual themes it inspired….[Picasso´s]…….1896 painting The First Communion, depicts a young woman about to receive her first communion……[this, and other]……works do not prominently feature alcohol per se, although they do reveal an important facet of Picasso’s relationship with wine: wine not only as a religious sacrament, but also as marker of identity……..For Catholic Picasso, wine was not simply a tool for worship, but must also have been a sort of divine vessel, which, through God, became something new and holy. The doctrine of transubstantiation, by which Eucharist wine becomes the blood of Christ, was and remains a defining feature of Catholicism. These works also lay a foundation for Picasso’s later exploration of wine in the very different context of ancient Greco-Roman religion……The Minotaur’s Repose: Champagne and Mistress depict a minotaur and a nude woman reclining on a couch; the minotaur looks over his shoulder towards the viewer, raising the glass of wine in his hand…….The Dionysiac characters of satyrs and maenads (depicted in Picasso’s Bacchanale) also embody the intoxicating effects of alcohol which distance drinkers from the rational mind and, in Greek myth, their humanity…….This is a very different relationship to wine than the Catholic imagery of Picasso’s earlier career evokes, but both imply significance and even a form of reverence. In Picasso’s works, wine can be both transformed and transformative´ (extracts from Picasso: Wine and Art at La Cité du Vin by Paige Crawley, 2022)

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A wonderful and vibrantly illustrated A.L.S., Picasso, two pages, slim 4to (approximately 10.5 x 27.5 cm), Mas Notre-Dame-de-Vie, Mougins, Alpes-Maritimes, 23rd October 1962, to Max [Pellequer] (´Mon cher Max´), in French. The artist sends his correspondent more papers, with his thanks, and continues to provide a snapshot of his relaxed life with his second wife and muse, Jacquelibe Roque, on the Cote d´Azur ´Il fait l´été nous nous sommes baignez au port hier encore et nous aurions pu aller encore aujourd´hui hier ce matin encore sur la plage et dejeuner sur le sable comme jusques à présent´ (Translation: ´It's summer, we went swimming at the port again yesterday and we could have gone again today yesterday or this morning again on the beach and had lunch on the sand as we have been doing until now´), further profusely expressing his gratitude to Pellequer, ´Merci et merci encore pour toute du travail que je vous donne avec tant d´histoire de contributions et maisons. Merci. Merci. Merci. Vous etes très bon pour moi´ (Translation: ´Thank you and thank you again for all the work I give you with so much history of contributions and houses. Thank you. Thank you. Thank you. You are very good to me´) and concluding by sending best wishes from himself and Jacqueline. To further reinforce the joy Picasso has found on his recent visit to the beach, the artist has added a delightful original drawing at the foot of his letter, executed in blue ink and various coloured crayons, depicting a magnificent, bright yellow sun in a clear blue sky, shining upon the deep blue Mediterranean sea, in which two bathers can be seen, and with a beach in the foreground upon which appear a number of other figures, some happily relaxing beneath bright orange parasols. To further illuminate his letter Picasso has underlined each Merci in orange crayon (a total of six times) and also underlined the name of his villa and the date in blue crayon at the head of the first page. A magnificent and rare illustrated letter by Picasso. A few very light, extremely minor creases, VGMax Pellequer (1903-1973) French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.In 1961, Picasso, who had discovered Mougins in 1936, bought Mas Notre-Dame-de-Vie from the Guinness family as a wedding present for his future wife Jacqueline. Referred to by Picasso as the ´house of my dreams´, the large villa (set in three hectares and with views over the Bay of Cannes) would be the artist´s final residence.

MONET CLAUDE: (1840-1926) French Impressionist painter. A fine A.L.S., Claude Monet, three pages, 8vo, Etretat, 27th October 1885, to Camille Pissarro (´Mon cher Pissarro´), on the printed stationery of the Hotel Blanquet, in French. Monet states that he has been meaning to write to Pissarro for some time and send his news, ´mais vous savez ce que c´est, etant toujours dehors a travailler, on est fatigue le soir et un peu paresseux pour ecrire´ (Translation: ´but you know how it is, being out all the time working, you're tired in the evening and a bit lazy to write´), remarking ´Je pensais rester moins longtemps ici, mais je suis si peu favorise par le temps que c´est le diable de pouvoir terminer quelque chose. J´ai eu beau faire mettre des toiles pour tous les temps, je n´en viens pas a bout d´une, entre les changements de maree, les bateaux qui ne sont jamais a la meme place´ (Translation: ´I thought I'd stay here for less time, but I'm so short of time that it's the devil to get anything done. No matter how many times I've had canvases put up for all weathers, I can't finish one, between the changes in the weather and the boats that are never in the same place´) explaining that he will remain at Etretat for a while longer, in order to make the most of his trip, and therefore won´t be able to attend the next dinners with Pissarro, ´Vous voudrez bien m´en excusre aupres des amis, et leur faire mes amities. Et vous, que faites-vous, et Renoir, Cezanne, Sisley et Durand les affaires, en tout cela un mot et vous serez bien aimable de me mettre un peu au courant´ (Translation: ´I apologise to my friends for this, and send them my regards. And you, what are you doing, and Renoir, Cezanne, Sisley and Durand, the business, in all this a word and you will be very kind to give me some information´). In concluding Monet states that he hopes Pissarro is in good health, that matters are going well for him, and asking for his compliments to be given to Pissarro´s wife and their son Lucien. A letter of good association and fine content, not least for its references to Monet´s work, but also for the mention of a number of other Impressionist artists. Some very light, extremely minor age wear, VGCamille Pissarro (1830-1903) French Impressionist painter whose eldest son was Lucien Pissarro (1863-1944) French landscape painter, printmaker, wood engraver, designer, and printer of fine books.Pierre-Auguste Renoir (1841-1919) French Impressionist artist. Paul Cezanne (1839-1906) French Post-Impressionist painter.Alfred Sisley (1839-1899) British Impressionist landscape painter.Paul Durand-Ruel (1831-1922) French art dealer associated with the Impressionists, and the first to support Pissarro, Monet and Renoir.Etretat is located in the Normandy region of Northwestern France and is famous for its chalk cliffs, including three natural arches. These landmarks and the associated resort beach attracted not only Monet, but other artists including Eugene Boudin and Gustave Courbet. Monet´s paintings created at Etretat in 1885 include The Cliffs at Etretat and Sailboats behind the needle at Etretat.

PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A.L.S., Picasso, one page, 4to, Vallauris (Cote d´Azur), 5th May 1950, to Max [Pellequer] (´Mon cher Max´), in French. Picasso writes regarding a financial matter and the Banque Nationale pour le Commerce et l´Industrie and states, in part, ´La B.N.C.I. m´envoi des feuilles a remplir pour l´argent envoye de Suisse. Je vous l´envoie.....et vous les remplirez sachant mieux que moi comment il faut le faire´ (Translation: ´The B.N.C.I. sends me forms to fill in for money sent from Switzerland. I'll send them to you ..... and you can fill them in knowing better than I do how to do it´). In a postscript the artist also adds that he hopes the bank will send him a receipt for the payments. VGMax Pellequer - French banker and art collector who would become Picasso´s private banker, financial adviser and close friend. Pellequer assembled an important collection of artworks in the 1920s and 1930s which included a number of significant early pieces by Picasso, as well as works by Paul Cezanne, Edgar Degas, Paul Gauguin, Henri Matisse, Joan Miro and others. Almost two hundred letters from Pellequer to Picasso are preserved in the Musee National Picasso in Paris.Picasso had come to live in Vallauris in 1948 and stayed in the seaside commune until 1955. During this time he created a great number of sculptures and paintings, including his mural War and Peace, and also developed a fascination for the techniques of ceramics and linocuts.

A collection of assorted books on art. Including Paul Klee, Mark Rothko and Cezanne, etc.

Books- The Master's Knowledge Publication, Art Nouveau, Cezanne, Klimt, Whistler, Augustus John and many other publications on art:- Two Boxes.

Goya 'The Disasters of War, 85 Etchings' Masters of Etching- 'Rembrandt' and 'Nevinson' The Great War- Fourth Year by Nevison, modern paintings by Monroe Wheeler, Cezanne, Brugel, Toscana, Edward Burra, Bosch:- One Box.

Duret,T.: Die Impressionisten. 4. Aufl. Bln., Cassirer 1920. Mit 2 Orig.- Radierungen von Auguste Renoir und 1 Holzschnitt von Beltrand nach Paul Cezanne. 4 Bl., 139 S., 1 Bl. Oseidenbd. mit Rsch. Nr. 109 von 200 Ex. der Vorzugsausgabe. - Mit den Radierungen "Kinderkopf" und "Badende Frau" von Renoir und dem Holzschnitt "Weiblicher Akt" von Beltrand nach Cezanne. - N.a.V.

Art Reference Books A quantity of books mostly relating to French 19th/20th Century painting and sculpture. To include works on Impressionism, Renoir, Monet, Gauguin, Vlaminck, Chagall, Cezanne etc… (a quantity) ,

* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Ink and gouache on Arches paper painting titled "Sculpture Model" depicting abstracted shapes in red and blue, 1937. Signed and dated "Paris 2/37" along the lower left; titled along the lower right. With a Menconi & Schoelkopf, New York, gallery label affixed to the verso.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by the end of 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 18 in x width: 14 in. Framed; height: 23 in x width: 20 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears or restorations. The sheet is toned. Some light creases along the lower edge. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Painted aluminum 'Structurist Relief' sculpture titled "Untitled (#6)" depicting a three-dimensional geometric abstract composition in bright colors against a mint-green background, 1983-85. Signed, dated, and titled along the verso. With a custom moving crate. With a Menconi & Schoelkopf, New York, gallery label affixed to the crate.Provenance: Estate of Charles Biederman.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs similar to the artwork offered here including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Height: 42 1/2 in x width: 31 3/4 in x depth: 11 in.Condition: The colors are bold and bright. There are no major losses, bends, or repairs. There is one minute paint loss to the upper-most purple square.

THE FABER GALLERY: 2 Titles: [WILLIAM] BLAKE, with an introduction and notes by Geoffrey Keynes; [Paul] CEZANNE, with an introduction and notes by Adrian Stokes. Tipped in colour plates to both (2)

Fünf Stillleben, 19./20. Jh., diverse Techniken, darunter Druck nach Paul Cezanne, Aquarell, Öl, bis 29 x 46 cm.- Die Stücke können nur bei Bad Füssing besichtigt und - nach vorheriger Überweisung - dort abgeholt werden werden.

'Cezanne und Seine Ahnen' - a collection of twenty one mounted photographic prints, published by R. Piper & Co, Munchen, 1921, in original cover, each print 46cm x 30cm or smaller.

THREE BOXES OF ART BOOKS comprising over seventy miscellaneous titles, mostly in hardback formats to include Bell; Stanley Spencer, Fliedl; Klimt, Lane; Harry Halls Classic Winners, Johnson; Art A New History, Zerbst; Antoni Gaudi and works on Turner, Raphael, Cezanne, Lautrec, Constable, Pre-Raphaelites, British Watercolours, etc

Antique etching on laid paper entitled Portrait de Guillaumin after French Post-Impressionist artist Paul Cezanne. Etched for the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Sketch in the upper left corner which depicts a tiny gallows with a hanged man. Edition number in graphite on lower left: 68/100. Includes protective cover sheet. Artist: After Paul Cezanne (French, 1839-1906)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

Vintage 4th edition paperback catalogue contains 52 pages of text history and 99 plate paintings from MOMA's November 1929 Cezanne, Gauguin, Seurat, and Van Gogh exhibition. Edited by Alfred H. Barr, Jr. Issued: 1929Dimensions: 11"L x 8.5"W x 0.5"HCondition: Age related wear. Binding is slightly torn. All pages in tact.

Antique original engraving on Japan paper entitled Les terres rouges (The Red Lands) after French Post-Impressionist artist Paul Cezannes original painting. Pulled from the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Edition number in graphite on lower left: 68/100. Includes protective cover sheet. Artist: After Paul Cezanne (French, 1839-1906)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

Antique original color etching on wove paper entitled Vue prise de Saardam (View taken from Saardam) after French Post-Impressionist artist Paul Cezanne. Etched for the limited edition portfolio Histoire des peintres impressionnistes by Theodore Duret, published by H. Floury, Paris 1906. Artists signature in plate on lower right: A G. Includes protective cover sheet. Artist: After Armand Guillaumin (French, 1841-1927)Issued: 1906Dimensions: 8.25"L x 10.5"HCondition: Age related wear.

A collection of Skira art books, to include; Corot, Cezanne, Pissarro, Art Nouveau, (A Lot). 

Woolf (Virginia). The Captain's Death Bed and Other Essays, 1st edition, London: The Hogarth Press, 1950, partial offsetting to endpapers, original cloth, spine faded and lettering dulled, price-clipped, dust jacket designed by Vanessa Bell, spine toned with small chips at ends, short closed tear at head of front panel, a few small stains, 8vo (Kirkpatrick A30), together with Woolf (Leonard & James Strachey, editors). Virginia Woolf & Lytton Strachey Letters, 1st edition, London: Hogarth Press & Chatto and Windus, 1956, original cloth, fading to extremities, dust jacket by Vanessa Bell, tear and loss at head of spine and top right corner of front panel, some toning and small chips, 8vo, plus Garnett (David). Go She Must!, 1st edition, London: Chatto & Windus, 1927, a little minor spotting, original cloth (slight lean), dust jacket, spine lightly toned, 8vo, with 13 others including The Village in the Jungle, by Leonard Woolf, 1st edition, 1913, Cezanne. A Study of his Development, by Roger Fry, 2nd edition, 1932, the Death of the Moth and Other Essays, by Virginia Woolf, 1st edition, 1942 (lacking dust jacket), , Winter Movement and Other Poems, by Julian Bell, 1930 (2 copies), others by David Garnett etc QTY: (16)

Paul Cézanne (1839-1906) after.Le Déjeuner sur L'Herbe (Cherpin 9; Leymarie-Melot 9)Lithograph printed in colours, 1894 printed in 1914, printed by Auguste Clot, Paris, on chine-volant paper, with full margins, sheet 360 x 440mm (14 1/8 x 17 1/4in) The present work was produced in homage to Claude Monet's painting of the same title and the lithograph was intended to be published by Vollard in his Album d'Estampes de la Galerie Vollard. Cezanne supervised the production of the maquette, however for unknown reasons the work was not published by Vollard, and it remained unprinted until 1914 when the current edition was pulled by the master printer Auguste Clot.

* KEN HOWARD OBE RA RBA NEAC (BRITISH 1932 - 2022) FROM POKHARA, NEPAL watercolour on paper, signed, titled and dated '79mounted, framed and under glassimage size 19cm x 28cm, overall size 38cm x 46cm Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.