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Qty of vintage art reference books to incl Van Gogh, Manet, Rodin, Matisse, Picasso, Rembrandt etc

F. DROZ (SWISS 19TH /20TH CENTURY) 'TEMPLE DE FENIN', a landscape with a view of the Reformed church in the village of Val-de-Ruz in Switzerland, signed and dated 1916 bottom right, oil on canvas, approximate size 23cm x 35cm, together with art related prints and ephemera, comprising an Emil Orlik lithographic print 'Am Sonntag - Bohem / On Sunday - Bohemia' depicting three women in conversation, a woodblock print depicting figures operating a threshing machine initialled MMC, a Charles L'Eplattenier lithographic print depicting a portrait of a male figure, a Henri Van Muyden lithographic print of a young child, a Ferdinand Hodler self-portrait print signed and dated 1916 in the plate, a reproduction map of Vienna dated 1649 in the plate, a Jean Cassou booklet about Raoul Dufy with colour illustrations, published by Editions D'Art Albert Skira, a similar booklet regarding Albert Marquet, Maurice Utrillo and Douanier Rousseau by Leon-Paul Fargue together with additional illustrations by Edouard Manet, Edgar Degas, Camille Pissarro, Gustave Courbet and J.B. Camille Corot

* JOHN DUNCAN FERGUSSON RBA (SCOTTISH 1874 - 1961), WOMAN ON THE SHORE charcoal on papermounted, framed and under glass image size 20cm x 11cm, overall size 54cm x 44cm Label verso: Ewan Mundy Fine Art Ltd., GlasgowNote: born Leith [now a district of Edinburgh], 9 Mar. 1874; d Glasgow, 30 Jan. 1961. Scottish painter (mainly of landscapes and figure subjects) and occasional sculptor, the best known of the Scottish Colourists. From about 1895 he made regular visits to Paris and he lived there 1907–14. His early work was Whistlerian and he then came under the influence of Manet, but by 1907 he had adopted the bold palette of Fauvism and became the most uncompromising adherent to the style among British artists (Blue Beads, 1910, Tate, London). In 1914 the war brought him back to Britain; he lived in London, 1914–29; in Paris, 1929–40; and finally in Glasgow, 1940–61. Soon after his arrival in Glasgow he founded the New Art Club to provide better exhibiting facilities for the city's progressive artists, and out of it grew the New Scottish Group (1942), of which Fergusson was first president. At this time he was also editor of the periodical Scottish Art and Letters, and he wrote a book entitled Modern Scottish Painting (1943).

ATTRIBUTED TO WILHELM LEIBL (GERMAN 1844 - 1900), A MEDITATING SAINT oil on canvasframed image size 81cm x 97cm, overall size 95cm x 110cm Provenance: lot 109, Nineteenth Century European Paintings, Sotheby's, London, 7 October 1987. This 1987 Sotheby's catalogue, which shows a black and white photo of this picture (A Meditating Priest) catalogued as "Attributed to Wilhelm Leibl" and estimated at £2000 - 3000 is included with this lot.Note: Wilhelm Maria Hubertus Leibl (October 23, 1844 – December 4, 1900) was a German realist painter of portraits and scenes of peasant life. Leibl was born in Cologne, where his father was the director of the Cathedral choir. He was apprenticed to a locksmith before beginning his artistic training with the local painter Hermann Becker in 1861. He entered the Munich Academy in 1864, subsequently studying with several artists including Carl Theodor von Piloty. He set up a group studio in 1869, with Johann Sperl, Theodor Alt, and Rudolf Hirth du Frênes. At about the same time, Gustave Courbet visited Munich to exhibit his work, making a considerable impression on many of the local artists by his demonstrations of alla prima painting directly from nature. Leibl's paintings, which already reflected his admiration for the Dutch old masters, became looser in style, their subjects rendered with thickly brushed paint against dark backgrounds. In 1869, following Courbet's suggestion, Leibl went to Paris, where he was introduced to Édouard Manet, but was forced to return to Germany in 1870, due to the outbreak of the Franco-Prussian War. In 1873 Leibl left Munich for the isolated Bavarian countryside, where he depicted the local peasants in everyday scenes devoid of sentimentality or anecdote. The sketchlike quality of his earlier paintings was replaced by greater precision and attention to drawing. Living from 1878 to 1882 in Berbling, he painted perhaps his best-known work, the Three Women in Church (Kunsthalle, Hamburg). Its intensely realistic style recalls Hans Holbein in its clarity of definition. During the following years he moved to the town of Bad Aibling and, in 1892, to Kutterling, as his paintings united the disciplined drawing he had adopted in the 1880s with a new delicacy and luminosity. Leibl painted without preliminary drawing, setting to work directly with color, an approach that has parallels to Impressionism. His commitment to the representation of reality as the eye sees it earned him recognition in his lifetime as the preeminent artist of a group known as the Leibl-Kreis (Leibl Circle) that included, among others, Carl Schuch, Wilhelm Trübner, Otto Scholderer, and Hans Thoma. During the first half of the 1870s, Leibl executed a series of 19 etchings in a meticulous style. His charcoal drawings are conceived in great masses of light and shadow, blocked in as though he were using a brush and paint. He visited the Netherlands in 1898, and his work was included in the Berlin Secession exhibition the following year. He died in Würzburg in 1900.

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.

MANET EDOUARD: (18[32-1883) French Painter. Manet is widely regarded as the founder of Impressionism painting. A good A.L.S., `E. Manet´, one page, n.p., n.d. [`Friday´], to Claude Monet, in French. Manet writes to his good friend and colleague Monet, in full, ‘Merci mon cher Monet, mais je vous croyais plus... que cela. Pour moi c´est comme un cauter sur une jambe de bois. Je suis fâché de vous savoir malade, j´espère que cela ne sera rien, amitiés´ (Translation: "Thank you my dear Monet, but I thought you were more... than that. For me it is like a cautery on a wooden leg. I am sorry to know that you are ill, I hope it will be nothing, I send you my friendly regards"). Paper with atermark. VGClaude Monet (1840-1926) French Impressionist Painter.

MANET EDOUARD: (1832-1883) French painter, a pivotal figure in the transition from Realism to Impressionism. A.L.S., Ed. Manet, one page, 8vo, n.p., n.d., to a friend, in French. Manet writes, in full, ´L´heure de 9 a 11 m´ira parfaitement - mais attendons un peu que le temps s´affermisse. Viens me voir quand tu voudras. Je suis toute la journée chez moi et nous prendrons séance´ (Translation: ´9 to 11 would be perfect for me – but let's wait a bit until the weather settles down. Come and see me whenever you like. I'll be home all day and we can have a session´). Some very light, extremely minor foxing, VG

MONET CLAUDE: (1840-1926) French Impressionist painter. An excellent A.L.S., Claude Monet, two pages (written to the first and final sides of the bifolium), 8vo, Giverny par Vernon, Eure, 17th October 1889, to [Henri] Guérard, in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je m´occupe d´une souscription que nous faisons entre amis et admirateurs de Manet pour acheter son Olympia et l´offrir au Louvre. C´est le plus bel hommage que nous puissions rendre à la memoire de notre ami et c´est en meme temps une facon discrète de venir en aide a Madame Manet puisque c´est à elle qu´appartient l´Olympia, J´ai pensé que vous seriez heureux de vous joindre a nous en prenant part a cette manifestation. Je vous demande donc de me repondre le plus tot possible en me disant pour quelle somme. Je dois vous inscrire et si de votre coté vous connaissez d´autres personnes suceptibles de souscrire vous seriez bien aimable de vous en occuper ou de me donner leurs adresses. Car il se peut que j´ai oublié des noms´ (Translation: ´I am in charge of a subscription that we, friends and admirers of Manet, are making to buy his Olympia and offer it to the Louvre. It is the finest tribute we can pay to the memory of our friend and at the same time a discreet way of helping Madame Manet, since she is the owner of the Olympia. I thought you would be happy to join us in this endeavour. Please let me know as soon as possible how much you would like to contribute. I have to register you and if you know of anyone else who might be interested in subscribing, please take care of it or give me their addresses. I may have forgotten some names´) and in a postscript further adds ´Inclue la liste des souscriptions a ce jour. La somme à réaliser est 20,000 fr´ (Translation: ´Included is the list of subscriptions to date. The target amount is 20,000 francs´). Together with Monet´s autograph list of subscribers, one page, 4to, headed ´Souscription pour acheter l´Olympia à Madame Manet et l´offrir au Louvre´ (Translation: ´Subscription to buy the Olympia from Mrs Manet and offer it to the Louvre´) and featuring an alphabetical list of thirty-four subscribers and the individual amounts that they have donated, totalling some 15,025 Francs at the date of the letter, 17th October 1889. Among the subscribers are Monet himself, who is recorded as having given 1,000 Francs, as well as other artists, writers, art collectors and gallery owners including Paul-Albert Besnard (100 Francs), Jacques-Émile Blanche (500 Francs), Giovanni Boldini (1,000 Francs), Félix Bracquemond (50 Francs), Gustave Caillebotte (1,000 Francs), Louis-Robert Carrier-Belleuse (50 Francs), Emmanuel Chabrier (50 Francs), Jules Chéret (100 Francs), Théodore Duret (1,000 Francs), Paul Durand-Ruel (200 Francs), Gustave Geffroy (25 Francs), Paul Gallimard (200 Francs), Joris-Karl Huysmans (25 Francs), Octave Mirbeau (300 Francs), Étienne Moreau-Nélaton (500 Francs), Pierre Puvis de Chavannes (300 Francs), Jean-Francois Raffaelli (100 Francs), Alfred Philippe Roll (500 Francs), Henri Rouart (1,000 Francs), John Singer Sargent (1,000 Francs) and others. A letter of fine content accompanied by the historically important list of subscribers solicited by Monet. The letter with a neat split to the upper edge of the central vertical fold of the bifolium and the manuscript list with a couple of similar neat splits to the edges of the folds and with some light dust staining and minor creases to the edges. About VG, 2Henri Guérard (1846-1897) French painter and printmaker. A friend of Edouard Manet, Guérard posed for one of the artist´s paintings, Au Café, with the actress Ellen Andrée in 1879. Manet´s Olympia (1863) was first exhibited at the 1865 Paris Salon where it immediately caused controversy. The subject of the painting, Olympia, is a white prostitute, seen reclining in a full-length naked pose on her bed, while being attended to by her black maid. Olympia´s confrontational gaze towards the viewer sparked shock amongst the public in 1865, however the painting later became appreciated as one of Manet´s masterpieces. This was certainly the opinion of Monet, who played the greatest part in the campaign intended to have Olympia purchased through subscription and then to have it accepted by the French government for display in the Louvre. Monet´s campaign commenced in 1889 and by February 1890 the artist had raised around 20,000 francs for the acquisition of the painting. However, French law prevented the Louvre from exhibiting works until their creators were ten years deceased (Manet died in 1883) and therefore Olympia was first kept in the Musée du Luxembourg. It finally entered the Louvre in 1907, fulfilling Monet´s wishes.

CARNAVAL; LE TERREUR DE GRENELLE; LA PRIERE DES JUIFS POLONAIS; LA MARCHAND DE MARRONS (DELTEIL 64, 72, 241, 335; ADHEMAR 42, 79, 242, 254; WITTROCK 61, 66, 194, 232),Four lithographs (two printed in olive green), 1894(2), 1897 and 1898, the second from the first song sheet edition, published by G. Ondet, the third from the regular book edition (second state of two), the fourth from Histoire de la lithographie de Manet a nos hours, published by Edmond Frapier, Paris, framed.Largest sheet 14 5/8 x 11 inches; 371 x 279 mm.Largest frame 15 x 18 1/4 inches; 381 x 464 mm.

Cunningham George, By George! My Childhood in Sheffield, signed 'Best Wishes George Cunningham, 1988', First Edition, published by Hibberts Brothers Ltd; another More George! Growing Up; The Story Continues...., signed 'Best Wishes George Cunningham', First Edition, printed by The Hallamshire Press;  Art Reference  books including The Lowry Lexicon, Monet, Matisse, Impressionist artists, Manet, reproduction art posters;   etc

Pablo Picasso 1881 Malaga - 1973 Mougins Le déjeuner sur l'herbe, d'après Manet II. 1962. Farblinolschnitt. Signiert und mit einer persönlichen Widmung an Hidalgo Arnéra. Probedruck außerhalb der Auflage von 50 Exemplaren. Auf Velin von Arches (mit dem Wasserzeichen). 53 x 64 cm (20,8 x 25,1 in). Papier: 62,4 x 72,4 cm (24,5 x 28,5 in). Gedruckt bei Hidalgo Arnéra. Herausgegeben von Galerie Louise Leiris, Paris. [KA]. Weitere Werke aus der Sammlung Max Niedermayer, Limes-Verlag Wiesbaden, kommen im Evening Sale am 6. Juni und im Day Sale am 7. Juni sowie in unseren weiteren Auktionen im Laufe des Jahres zum Aufruf. • Persönlich von Picasso seinem Drucker Arnéra gewidmet. • In seiner unverwechselbaren Formsprache gelingt Picasso eine meisterhafte Neuinterpretation von Manets 'Déjeuner sur l'herbe'. • In Picassos grafischem Œuvre stehen die farbigen Linolschnitte in ihrem technischen Variantenreichtum und Ausdrucksvermögen an herausragender Stelle. PROVENIENZ: Sammlung Max Niedermayer, Wiesbaden (bis 1968). Nachlass Max Niedermayer, Wiesbaden. Privatsammlung Rheinland-Pfalz (1979 vom Vorgenannten erworben). Seither in Familienbesitz. LITERATUR: Bernhard Geiser, Brigitte Baer, Picasso peintre-graveur. Catalogue raisonné de l'œuvre gravé et des monotypes, Bd. V: 1959-1965, Bern 1989, WVZ-Nr. 1329 IV A (von IV B b) (m. Abb.). Georges Bloch, Pablo Picasso. Catalogue de l’œuvre gravé et lithographié 1904-1967, Bern 1984, WVZ-Nr. 1097 (m. Abb.). Aufrufzeit: 07.06.2025 - ca. 17.06 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONPablo Picasso 1881 Malaga - 1973 Mougins Le déjeuner sur l'herbe, d'après Manet II. 1962. Linocut in colors. Signed and with a personal dedication to Hidalgo Arnéra. Trial proof aside from the edition of 50 copies. On Arches wove paper (with the watermark). 53 x 64 cm (20.8 x 25.1 in). Sheet: 62,4 x 72,4 cm (24,5 x 28,5 in). Printed by Hidalgo Arnéra. Published by Galerie Louise Leiris, Paris. [KA]. More works from the Max Niedermayer Collection, Limes-Verlag Wiesbaden, will be offered in the Evening Sale on June 6 and in the Day Sale on June 7, as well as in other auctions throughout the year. • Personally dedicated by Picasso to his printer Arnéra. • In his unmistakable style, Picasso masterfully reinterprets Manet's “Déjeuner sur l'herbe.” • In Picasso's graphic oeuvre, the colorful linocuts occupy a prominent place thanks to their technical diversity and expressive power. PROVENANCE: Max Niedermayer Collection, Wiesbaden (until 1968). Estate of Max Niedermayer, Wiesbaden. Private collection, Rhineland-Palatinate (acquired from the above in 1979). In family ownership since. LITERATURE: Bernhard Geiser, Brigitte Baer, Picasso painter and engraver. Catalogue raisonné of engraved works and monotypes, vol. V: 1959-1965, Bern 1989, catalogue number 1329 IV A (of IV B b) (illustrated) Georges Bloch, Pablo Picasso. Catalogue de l'œuvre gravé et lithographié 1904-1967, Bern 1984, cat. no. 1097 (illustrated). Called up: June 7, 2025 - ca. 17.06 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Karl Hartung 1908 Hamburg - 1967 Berlin Liegende. 1950/52. Bronze mit dunkelgrauer Patina. Auf der Standfläche mit dem Nachlassstempel. Eines von 6+1 Exemplaren, von denen bisher erst drei ausgeführt wurden. 27 x 64,5 x 8,5 cm (10,6 x 25,3 x 3,3 in). Autorisierter Guss aus dem Nachlass des Künstlers: gegossen Ende der 80er Jahre in Italien, Pietrasanta, unter der Aufsicht von Karl Hartungs Tochter Hanne Hartung. [CH] Vom 28. Juni bis zum 15. Oktober 2025 wird Karl Hartungs Werk mit einer von Dr. Joachim Jäger kuratierten Einzelausstellung im Skulpturenpark und Ausstellungsgebäuden der Ludes Stiftung in Potsdam gewürdigt. • Ausdruck der Moderne: konsequente Abstrahierung, radikale Reduktion und kantige, kubistische Formen. • Spannungsvolle künstlerische Position zwischen Figuration und Abstraktion. • Tizian, de Goya, Ingres, Manet: Hartung übersetzt die kunsthistorisch tradierte Motivik des liegenden weiblichen Aktes in seine eigene, abstrahierte skulpturale Sprache. • Lebendige, haptisch besonders reizvolle Oberflächenbeschaffenheit. • Erstmals wird ein Exemplar dieser 'Liegenden' auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). • In den Nachkriegsjahren erlebt Hartung eine besonders fruchtbare Schaffensphase sowie seinen künstlerischen Durchbruch. • Bronzen des Künstlers aus der Zeit um 1950 befinden sich u. a. in den Sammlungen der Hamburger Kunsthalle und des Folkwang Museums, Essen. Wir danken dem Nachlass Karl Hartung für die freundliche wissenschaftliche Beratung. PROVENIENZ: Nachlass des Künstlers. LITERATUR: Markus Krause, Karl Hartung 1908-1967. Metamorphosen von Mensch und Natur. Monographie und Werkverzeichnis, München 1998, WVZ-Nr. 451 (m. SW-Abb., S. 231). Aufrufzeit: 07.06.2025 - ca. 17.08 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONKarl Hartung 1908 Hamburg - 1967 Berlin Liegende. 1950/52. Bronze with dark green patina. With estate stamp on the stand. From an edition of 6+1 copies, of which only three have been executed to date. 27 x 64.5 x 8.5 cm (10.6 x 25.3 x 3.3 in). Authorized cast from the artist's estate: cast in the late 1980s in Pietrasanta, Italy, under the supervision of Karl Hartung's daughter Hanne Hartung. [CH] From June 28 to October 15, 2025, Karl Hartung's work will be honored with a solo exhibition curated by Dr. Joachim Jäger at the sculpture park and exhibition buildings of the Ludes Foundation in Potsdam. • Expression of modernity: consistent abstraction, radical reduction, and angular, cubist forms. • Fascinating artistic position between figuration and abstraction. • Titian, Goya, Ingres, Manet: Hartung translates the art-historical motif of the reclining female nude into his own abstract sculptural language. • Lively, particularly appealing tactile surface texture. • This is the first time a copy of this “Liegende” is offered on the international auction market (source: artprice.com). • Hartung experienced a particularly fruitful creative phase and his artistic breakthrough in the post-war years. • Bronzes by the artist from around 1950 can be found in, among others, the collections of the Hamburger Kunsthalle and the Folkwang Museum in Essen. We are grateful to the Karl Hartung Estate for the kind expert advice. PROVENANCE: From the artist's estate. LITERATURE: Markus Krause, Karl Hartung 1908-1967. Metamorphosen von Mensch und Natur. Monograph and catalogue raisonné, Munich 1998, cat. no. 451 (illustrated in black and white on p. 231). Called up: June 7, 2025 - ca. 17.08 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

HIROSHIGE I UTAGAWA ( Japan 1797–1858 Japan )Schnee im Zôjô-ji Tempel in Shiba (Shiba Zôjô-ji setchû)「江戸名所三つの眺め　芝増上寺雪中」Holzschnitt/Papier (nishiki-e) 22 x 35,5 cmEdo Periode, ca.t 1839–42 (Tenpô 10–13)von der Serie The Three Views of Famous Places in Edo (Edo meisho mittsu no nagame)Vertikale MittelfalteSCHÄTZPREIS / ESTIMATE € 600 - 1200STARTPREIS / STARTING PRICE € 600Utagawa Hiroshige, geboren als Andō Tokutarō, war ein japanischer Ukiyo-e-Künstler, der als der letzte große Meister dieser Tradition gilt. Hiroshige ist vor allem für seine horizontalformatige Landschaftsserie „Die 53 Stationen des Tōkaidō“ und für seine vertikalformatige Landschaftsserie „100 berühmte Ansichten von Edo“ bekannt. Die Themen seiner Arbeit waren untypisch für das Ukiyo-e-Genre, dessen typischer Schwerpunkt auf schönen Frauen, beliebten Schauspielern und anderen Szenen der städtischen Vergnügungsviertel der japanischen Edo-Zeit (1603–1868) lag. Die beliebte Serie „Sechsunddreißig Ansichten des Berges Fuji“ von Hokusai hatte einen starken Einfluss auf Hiroshiges Motivwahl, obwohl Hiroshiges Ansatz poetischer und atmosphärischer war als Hokusais kühnere, formellere Drucke. Der subtile Einsatz von Farbe war bei Hiroshiges Drucken von entscheidender Bedeutung. Oftmals wurden mehrere Drucke im selben Bereich und unter umfangreicher Verwendung von Bokashi (Farbabstufungen) gedruckt, was beides recht arbeitsintensive Techniken waren. Für Gelehrte und Sammler markierte Hiroshiges Tod den Beginn eines raschen Niedergangs des Ukiyo-e-Genres, insbesondere angesichts der Verwestlichung, die auf die Meiji-Restauration von 1868 folgte. Hiroshiges Werk übte gegen Ende des 19. Jahrhunderts als Teil des Trends des Japonismus einen deutlichen Einfluss auf die westeuropäische Malerei aus. Westeuropäische Künstler wie Manet und Monet sammelten und studierten Hiroshiges Kompositionen eingehend: Vincent van Gogh malte beispielsweise Kopien einiger Hiroshige-Drucke. Weiterführende Künstler und Begriffe: Moronobu, Masanobu, Sharaku, Utamaro, Kuniyoshi, Great Wave, Ukiyo-e, Druck, HolzdruckBitte 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.

El Lissitzky - Wladimir Majakowski. Dlia golosa. (russisch: Für die Stimme / Zum Vorlesen). Konstruktor knigi: El Lissitzky. Berlin, Lutze & Vogt für den Staatsverlag der RFSFR 1923. Mit illustriertem Titel, Typographiken und Illustrationen in Rot und Schwarz. Orangefarbene Originalbroschur mit Vorderdeckelillustration in Rot und Schwarz.Erste Ausgabe eines der wichtigsten Bücher des Konstruktivismus: »Majakowskis Gedichtband [...] wurde das einflußreichste Buch der typographischen Illustration des Konstruktivismus. Moholy-Nagy, van Doesburg, Teige und viele andere haben es gewürdigt und wurden von ihm in ihrer eigenen buchkünstlerischen Arbeit bestärkt und angeregt.« (Lothar Lang, S. 114). - »Furthermore, since Mayakovsky's volume of poetry was meant for recitation, Lissitsky's invention of a thumb-tab index for ease in finding each poem epitomizes the notion of the book as functional object« (Rowell and Wye, Seite 54). - »Der Ruhm Lissitzkys als Begründer einer neuen typografischen Kunst festigte sich endgültig nach Erscheinen des Majakowskischen Gedichtbandes „Zum Vorlesen" [...] Das Buch auszustatten wurde Lissitzky von Majakowski selbst vorgeschlagen. Der Dichter nahm dreizehn seiner bekanntesten und am häufigsten von der Bühne zitierten Gedichte hinein. [...] im Unterschied zur traditionellen Buchgrafik, die auf einer illusionistischen Illustrierung des Textes basiert, sind Lissitzky der Wortdynamik adäquate grafische Konstruktionen gelungen, die das ›Vorlesen‹ der Majakowskischen Verse lediglich ›begleiten‹. Das Buch des großen revolutionären Poeten wurde von einem echten Poeten der neuen Typografie ausgestattet. [...] In einem Interview, 1924 veröffentlicht, gab Majakowski der Arbeit Lissitzkys eine hervorragende Bewertung: ›Das im Berliner Verlag der RSFSR erschienene Buch ›Zum Vorlesen‹ (Gestaltung durch den Künstler Lissitzky) ist in technischer Hinsicht ausnahmslose Vollendung grafischer Kunst.‹« (N. Chardchiew, zitiert nach Lissitzky-Küppers, S. 385ff.). - Sehr schönes Exemplar.18,8 : 13,3 cm. 61, [3 leere] Seiten, 1 illustriertes Titelblatt. - Umschlag und eine Blattkante minimal angestaubt.From Manet to Hockney 68. - Johnson Artists' Books in the Modern Era 41. - Bowlt/Hernard 91. - Hellyer 305. - Rowell/Wye 478. - Dokumentations-Bibliothek VI, 679. - Lang, Konstruktivismus 49, S. 110ff. und als Umschlagillustration. - Papiergesänge 42

Kasimir Malewitsch - N[ikolai] N[ikolajewitsch] Punin. Pervyi tsikl lektsii (russisch: Erster Zyklus von Lektionen). Petrograd 1920. Rosafarbene Originalbroschur, auf den Deckeln zwei Farbzinkographien von Kasimir Malewitsch.Erste Ausgabe. - Auf dem Höhepunkt von Malewitschs suprematististischem Schaffen entstand eine der bekanntesten Umschlaggestaltungen der russischen Avantgardezeit, die in jeder namhaften Publikation zum Thema abgebildet ist. - Von Malewitschs Konstruktionen wurde El Lissitzky zu seinen Proun-Schöpfungen inspiriert. - Punins acht Vorlesungen diskutieren Ziele der russischen Avantgarde und waren Bestandteil eines Erziehungsprogramms des 1917 von Lunatscharski gegründeten NAKOMPROS (Kommissariat für Volksaufklärung). - Sehr schönes Exemplar, der in Rosa, Blau, Gelb und Schwarz lithographierte Umschlag bemerkenswert gut erhalten und farbfrisch. - »The covers of this government publication represent the only application of Malevich´s suprematist design to book« (From Manet to Hockney).21,5 : 14 cm. 84 Seiten. - Leicht angestaubt, Rücken minimal brüchig. - Hinterdeckel (und Seite 84) mit russischem Stempel. - Im Falz am Ende etwas gelockert, ein Blatt mit kleinem Eckabriss. - In Glasolin-Umschlag und privater Schmuckkassette mit Deckelbild.Karshan 72 und 73. - Compton S. 128 (mit farbiger Abbildung auf Tafel 15. - Bowlt/Hernard 52. - Hellyer 431. - Rowell/Wye 306. - Lang, Konstruktivismus 70. - Papiergesänge 36. - Ilk Russia 2

Walasse Ting One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. Wichtiges Avantgarde-Malerbuch, - 'Inbild einer ganzen Epoche' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in Schuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Westfälische Privatsammlung. LITERATUR: Das Buch des Künstlers 14. - Splendid Pages (Bareiss Coll.) S. 204. - Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s, a great publication of Pop art and Abstract expressionsim. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, in slipcase. Partly slight creases in margins, slipcase clearly stained. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000030 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000030 This lot can be purchased subject to differential or regular taxation.

Clemens Brentano Rarissimum! Fanferlieschen Schönefüßchen. Berlin, Fr. Gurlitt 1924. • Eine der großen Seltenheiten in Beckmanns graphischem Oeuvre • 1 von 30 numerierten Exemplaren der Vorzugsausgabe • Mit einer zusätzlichen Radierung von Max Beckmann, die nur für die Luxusausgabe vorgesehen war • Laut Hofmaier nur 4 nachweisbare Exemplare vorhanden, darunter 3 der Vorzugsausgabe 'Bis auf wenige Exemplare verbrannt oder in irgendeiner Form durch einen Unglücksfall vernichtet' (Ralph Jentsch) Entgegen der Kolophonangabe sind alle bisher aufgetauchten Exemplare der Vorzugsausgabe unsigniert. Uns ist lediglich ein Exemplar der Normalausgabe mit signierten Graphiken bekannt, das wir im November 2019 versteigert haben (A 491 Los 67, Zuschlag 50.000 €). Das letzte davor bekannte Exemplar dieses Werkes wurde 1991 bei Brandes in Braunschweig versteigert und erzielte dort mit ebenfalls unsignierten Graphiken der Luxusausgabe einen Zuschlag von 15.000 DM (A 96, Los 1853). Ursprünglich war eine Edition von insgesamt 220 Exemplaren vorgesehen. Hofmaier konnte lediglich 4 Exemplare lokalisieren, davon 3 unsigniert. - 'The by Beckmann illustrated Fanferlieschen Schönefüsschen is conspicuously rare; of a total edition of 220 copies, only four copies - three of the deluxe edition, one of general edition - have been located. It is to be assumed that nearly the entire edition has been lost. Although reasonably the disappearance should be involved with the events of the Second World War, the fact that in known copies of the deluxe edition Beckmann apparently refused to sign the illustrations, as required by the specifications of the colophon, proposes that a dissatisfaction on the part of the artist might have caused at least the withdrawal of the book from circulation. Although this proposal is highly speculative, the absence of the book in German institutional collections - indeed, at even the Deutsche Bücherei in Leipzig, where by law a copy of every publication was to be deposited - would seem to indicate that the book had become 'unavailable' soon after it had been issued' (Hofmaier). - 'Dieses Buch ist ein Meisterwerk der neueren deutschen Illustration' (Adolf Jannasch). - Fünfte Reihe der Neuen Bilderbücher. EINBAND: Orig.-Halbpergamentband mit goldgeprägtem Rückentitel und Kopfgoldschnitt, in HLwd-Schuber. 34,5 : 26,5 cm. - ILLUSTRATION: Mit 8 Orig.-Radierungen von Max Beckmann. - PROVENIENZ: Seit 1991 in einer Hessischen Privatsammlung. LITERATUR: Lenz, Max Beckmanns Illustrationen zu Fanferlieschen Schönefüßchen, in: Bild und Schrift in der Romanik. Hrsg. von G. Neumann und G. Oesterle, 1999, S. 447-462. - Hofmaier 291-298 B a. - Jentsch 145 - Lang 14. - Schauer II, 117. - Nicht in der Rifkind Collection, ferner nicht im Katalog From Manet to Hockney und bei Matuszak. Dabei eine im gleichen Stil nachgebundene HLwd-Mappe mit Kopien zum Werk, beides zusammen in HLwd-Schuber. One of the great rarities in Beckmann's graphic oeuvre. 1 of 30 numbered copies of the special edition with an additional, eighth etching by Max Beckmann, which was only intended for the luxury edition. According to Hofmaier 4 traceable copies exist today, including 3 of the special edition. With 8 orig. etchings by Max Beckmann. Orig. half vellum with gilt lettering and top edge gilt, in slipcase. 34,5 : 26,5 cm. - Apart from a few foxing spots, this is a beautiful and very wide-margined copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000059 Dieses Objekt wird regelbesteuert angeboten (R). Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000059 This lot can only be purchased subject to regular taxation (R).

Walasse Ting Grell und voller Leben One cent life. Herausgegeben von Sam Francis. Bern, E. W. Kornfeld 1964. • Eines der großen Malerbücher der 60er Jahre • Eine der schönsten Publikationen der Pop-Art und des abstrakten Expressionismus • Gemeinsames Künstlerprojekt von europäischer und amerikanischer Avantgarde 'Die Bibel der amerikanischen Pop-Art' (Wulf D. von Lucius) Die wohl bekannteste und wichtigste Synthese der avantgardistischen künstlerischen Strömungen Europas und Amerikas der 60er Jahre. Unter anderem im Stil des abstrakten Expressionismus, Tachismus und der Pop-Art verbinden sich hier Text und Illustration auf einfallsreiche Art. - 1 von 2000 numerierten Exemplaren. Druck bei Maurice Baudet, Paris, die Typographie stammt von Georges Girard. Enthalten sind u. a. Arbeiten von Pierre Alechinsky (Rivière 324-238), Karel Appel, Enrico Bay, Allen Davie, Jim Dine (Bonin/Cullen 78), Sam Francis (Lembark L78-L83), Robert Indiana, Asger Jorn (van de Loo 266, 267), Roy Lichtenstein, Claes Oldenburg, Mel Ramos, Robert Rauschenberg, James Rosenquist, Antonio Saura, K. R. H.Sonderborg, Walasse Ting, Bram van Velde, Andy Warhol und Tom Wesselmann. 'In Wahrheit handelt es sich bei weitem nicht nur um Pop-Künstler, sondern ebenso um viele Vertreter des abstrakten Expressionismus wie Sam Francis oder außerhalb Amerikas A. Saura. Das vom Buch insgesamt ausstrahlende Lebensgefühl von Grellheit, Lebensfreude und Ansätzen von trash culture (z. B. bei Mel Ramos) ist aber doch ganz das der Pop-orientierten 60er Jahre.' (W. D. von Lucius) 'This book was characteristic of the casual and iconoclastic nature of the 1960s.' (Logan Coll.) EINBAND: Lose Bogen in farbig illustriertem Orig.-Leinenband mit Orig.-Umschlag, in Schuber. 41 : 30,5 cm. - ILLUSTRATION: Mit 62 tlw. doppelblattgroßen farbigen Orig.-Lithographien von S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle u. a. - PROVENIENZ: Privatsammlung München. LITERATUR: Das Buch des Künstlers 14. - Splendid Pages (Bareiss Coll.) S. 204. - Castleman S. 208-209. - From Manet to Hockney 135. - Logan Collection 155. - Lucius, Bücherlust 40. - Arnold 2827. The presumably most renowned and most important synthesis of avant-garde artistic European and American tendencies of the late 1960s, a great publication of Pop art and Abstract expressionsim. With 62 orig. lithographs, partly double-page and in colors, by S. Francis, W. Ting, P. Alechinsky, K. Appel, R. Lichtenstein, A. Warhol, J.-P. Riopelle et al. Loose sheets in orig. cloth illustrated in colors with illustr. orig. wrappers, slipcase in Purple. - Good copy. Vollständige Beschreibung und Zustandsbericht https://www.ketterer-rarebooks.de/kunst/kd/details.php?detail=1&anummer=569&obnr=425000224 Dieses Objekt wird regel- oder differenzbesteuert angeboten. Complete description and condition report https://www.ketterer-rarebooks.com/details-e.php?detail=1&anummer=569&obnr=425000224 This lot can be purchased subject to differential or regular taxation.

Claude-Émile Schuffenecker (Fresne-St-Mamès 1851 - Paris 1934). Unter südlicher Sonne. Pastell. 45 x 56 cm. R. u. Künstlerstempel, unter Passepartout und Glas gerahmt, ungeöffnet. - Französischer Landschaftsmaler. S. erhielt Zeichenunterricht, arbeitete aber zunächst als Börsenmakler, wo er sich mit Paul Gauguin anfreundete. Beide gaben diese sichere Stellung auf und arbeiteten als freie Künstler. Mit Gauguin und van Gogh war er Ende der 1880er Jahre in Pont-Aven, Étreat und Yport tätig. 1883 nahm er für den Lebensunterhalt eine Stelle als Zeichenlehrer an. Im selben Jahr begann er Unterricht an der Académie Colarossi zu nehmen, wo er Manet und Pissarro kennenlernte. Bereits seit 1877 war er auf den führenden Pariser Ausstellungen vertreten. Mus.: Paris (Pal. Luxembourg), Pont-Aven u.a. Lit.: Thieme-Becker, Bénézit.

Claude-Émile Schuffenecker (Fresne-St-Mamès 1851 - Paris 1934). Der Weg im Licht. Pastell. 56 x 45,5 cm. R. u. Künstlerstempel, unter Passepartout und Glas gerahmt, ungeöffnet. - Französischer Landschaftsmaler. S. erhielt Zeichenunterricht, arbeitete aber zunächst als Börsenmakler, wo er sich mit Paul Gauguin anfreundete. Beide gaben diese sichere Stellung auf und arbeiteten als freie Künstler. Mit Gauguin und van Gogh war er Ende der 1880er Jahre in Pont-Aven, Étreat und Yport tätig. 1883 nahm er für den Lebensunterhalt eine Stelle als Zeichenlehrer an. Im selben Jahr begann er Unterricht an der Académie Colarossi zu nehmen, wo er Manet und Pissarro kennenlernte. Bereits seit 1877 war er auf den führenden Pariser Ausstellungen vertreten. Mus.: Paris (Pal. Luxembourg), Pont-Aven u.a. Lit.: Thieme-Becker, Bénézit.

Théodore Duret und Edouard ManetHistoire d'Édouard Manet et de Son Oeuvre, Avec un catalogue des peintures et des pastelsParis, H. Floury, 1902Vortitel, Titel, 301 pp., Inhaltsverzeichnis, Druckvermerk, Titel, (2) pp., 23 Tafeln (6 davon farbig), 2 Original-Radierungen von Manet (Gamin au Chien, L'Olympia), zahlreiche Textabbildungen, eines von 600 Exemplaren, mit Widmung des Autors an A.D.C. Thomson; Leineneinband, goldgeprägtes Rückenschild, leicht beschmutzt, vergilbt, Lex. 8° (27 x 19,5 cm)Geschäftsauflösung Wolfdietrich HassfurtherGuerin 27 und 39; Rosenthal S. 171; Mahé I, 810.

Kunst Frankreich 20. JahrhundertBücher (Konvolut 5 Stück)zwischen Lex. 8° (26,5 x 21 cm) und gr. 2° (48,5 x 33 cm)Geschäftsauflösung Wolfdietrich Hassfurther1. Theodore Duret, Lautrec, Eines von 200 Exemplaren, mit 1 Original-Kaltnadelradierung (Portrait de Tristan Bernard) und 1 Original-Lithografie (L’Argent. Programme de theatre), (Paris, Bernheim-Jeune und Cie., 1920;2. Francis Ponge, Braque Litographe, Notices et catalogue établis par Fernand Mourlot, vom Künstler gestalteter Lithoeinband und zwei Original-Lithografien (Frontispiz, Titelvignette), Exemplar 3074 (von 4125), Monte-Carlo, André Sauret, ©1963;3. Theodore Duret, Edouard Manet. Sein Leben und seine Kunst, mit zwei Original-Radierungen und einem farbigen Holzschnitt, Berlin, Paul Cassirer, 1910;4. Fernand Mourlot, Chagall Lithoraphie 1957-1962, André Sauret, ©1963;5. Louis Aragon und Pablo Picasso, Shakespeare. Hamlet et nous, Exemplar 716, Paris, Éditions Cercle d‘ Art, ©1965

Josef Dobrowsky und Egon Schiele und Max Suppantschitsch u. a.Druckgrafiken der Moderne (Konvolut 16 Stück)zwischen 1890 und 1922diverse Druckgrafiken auf Papier; ungerahmtzwischen 13,5 x 9,5 cm und 48,5 x 63 cm (Darstellungen bzw. Platten)Teilweise signiert, monogrammiert, bezeichnet und datiert in den PlattenTeilweise handschriftlich signiert unterhalb der DarstellungenAlle Blätter mit Gebrauchsspuren, teils kleine EinrisseGeschäftsauflösung Wolfdietrich HassfurtherDieses Konvolut beinhaltet Druckgrafiken folgender Künstler:Luigi Kasimir, Luise Pollitzer, Gottlieb Theodor Kempf-Hartenkampf, Charlotte Hampel-Andri, nach Edouard Manet, Holzschnitt von Prunaire nach einer Zeichnung von Manet, Stefan Filipkiewicz, Karl Sterrer, Maximilian Suppantschitsch, Dagobert Peche, Egon Schiele, Josef Dobrowsky, Melchior Lechter, Emil Orlik, Max Liebermann, Fritz von Uhde

Ray, Man - - Eluard, Paul. Les mains libres. Man Ray dessins illustrés par les poèmes de Paul Eluard. Mit illustriertem Titel und 66 ganzseitigen Illustrationen von Man Ray. Paris, Jeanne Bucher, 1937. 176 S., 15 nn. Bl. 29 x 22,5 cm. Späterer roter Ganzlederband mit goldgeprägtem Rückentitel im Schuber mit Lederkanten sowie beigebundenen illustrierten Original-Kartonagen (beigebundene Deckel knickspurig und mit hinterlegten Randeinrissen).Eins von 650 (GA 675) nummerierten Exemplaren. - Vortitel mit eigenhändiger Widmung von Man Ray: "to Frances McFadden/ with best wishes for 1938/ Man Ray". - Erste Ausgabe. - Monod 4217 - From Manet to Hockney 104 - Reynolds-Collection 188. - Vorsatz angerändert und mit hinterlegtem Randeinriss.

After Edouard Manet 'Charles de Baudelaire' portrait etching. Inscribed 'Peint et Grave par Manet 1865/imp A. Salmon', 10cm x 12cm, framed and glazed

MANET -- DURET, T. Histoire d'Edouard Manet et de son oeuvre. Avec un catalogue des peintures et des pastels. Paris, H. Floury, 1902. 299, (5) pp. W. many plates by Beltrand after Manet, several cold. en pochoir, and many illustr. in the text. Cont. h. mor. extra, spine w. raised bands & gilt dec., sides ruled in gilt, t.e.g., w. owrps & prospectus of the publisher bound up. (Occasional foxing but the prints are crisp & bright).

Zola (Émile) Édouard Manet, first edition, 48pp., frontispiece portrait of Manet by Bracquemond and etched 'Olympia' plate by Manet, the odd spot but largely very clean, modern boards, light fading on lower board, original wrappers bound in, 8vo, Paris, E. Dentu, 1867. *** First edition of Zola's biographical study of his friend Edouard Manet, first published in the Revue du XIXe siecle on January 1, 1867. The work was initially sold as a brochure at the retrospective exhibition organized by the artist in the pavilion built at his own expense at the Alma, on the sidelines of the Universal Exhibition and the Salon of 1867, from which he had been excluded.More than a biography, it is a defence of the work that was first exhibited at the 1865 Salon, depicting the high-class sex worker, Olympia: "It contains all of him, and only him. It will remain as the defining work of his talent, as the highest mark of his power" (p. 34)

Derain (André, illustrator). Rabelais (Francois). Les horribles et espovantables faictz et prouesses du très renommé Pantagruel, Roy de Dipsodes fils du grand géant Gargantua, Paris: Albert Skira, 1943, 180 colour woodcuts by Derain (including 21 full-page), fore and bottom edge untrimmed, loose as issued in original wrappers, paper label to upper cover, glassine wrapper, original Japanese vellum-backed chemise (vellum a little soiled), label to spine, slipcase (a little marked), folio (345 x 280 mm)QTY: (1)NOTE:Limited edition of 275 copies signed by the artist, this copy numbered 117.From Manet to Hockney 111; The Artist & the Book 1860-1960, 81.An excellent copy of the only work containing colour book illustrations by André Derain. 'Commissioned by the publisher Albert Skira in 1941, Derain worked for 3 years to produce the illustrations, co-operating with Lacourière and developing a novel printing process whereby the wooden blocks were inked in several colours simultaneously rather than the usual method of a separate block for each colour'. (From Manet to Hockney).

French School, c.1900 Portrait of a lady in a hat, with paint brushes in a vase beside her, signed 'Manet', oil on canvas, 41 x 28cm, framedCondition ReportRelined. Missing small patch in the centre. PLease see additional images.

Hockney, David. - Cavafy, C. P. (d. i. Konstantinos Kavafis). Fourteen poems. Mit 13 Original-Radierungen von David Hockney, davon eine lose beiliegend und signiert. 47 x 33 cm. Lilafarbene OBaumwollseide in OSchuber (dieser mit minimalen Gebrauchsspuren). London, Alecto, 1966.From Manet to Hockney 137. Arnold 457. Das Buch des Künstlers 15. Scottish Arts Council 47-59. - Eines von 250 nummerierten und vom Künstler signierten Exemplaren der Edition A (Gesamtauflage der gebundenen Edition: 550 Ex. sowie 120 Portfolios). "Hockney’s largest painting of 1961 was inspired by the words of the Greek poet Cavafy. In 1966 the artist decided to illustrate a book of Cavafy’s poems about homosexual love" (Riva Castleman). "Handsewn by Tillotsons (Bolton) Limited and bound in cotton silk bookcases and slipcases made by Galerie der Spiegel, Köln" (Druckvermerk). - Schönes Exemplar.

Original vintage advertising poster From Manet to Hockney Modern Artists' Illustrated Books exhibition that took place 20 March - 19 May 1985 at the Victoria & Albert Museum featuring an illustration titled 'Serenade' from The Blue Guitar by David Hockney, depicting an artistic view of a bust, fruit shapes in still life, sketches, and a guitar. Good condition, folds, minor creasing, minor staining. Country of issue: UK, designer: David Hockney, size (cm): 76x51, year of printing: 1985.

Rodin (Auguste).- Mirbeau (Octave) Le Jardin des Supplices, one of 30 copies on chine with an additional suite of plain plates, from an edition limited to 200, 20 lithograph plates by Auguste Rodin signed by the artist on the stone, all but two colour, each bound with additional plain plate and captioned tissue guard, light foxing to a couple of plates, with 2 pencil preparatory drawings by the binder mounted on sheet and bound in at end (one marked with tool numbers), bound in dark purple goatskin, by Charles Lanoë, spine titled in gilt with five raised bands, red goatskin doublures with illustration from title-page tooled in blind to centre, signed at foot of front turn-in, dark red silk moiré linings, marbled flyleaves, original printed wrappers bound in, g.e., preserved in half dark purple goatskin chemise (spine a little rubbed and faded) and board slip-case (very slightly rubbed at edges), [Artist & the Book 261; Artist & the Book in France p.341; Manet to Hockney 19], 4to (binding c.330 x 250mm.), Paris, Ambroise Vollard, 1902.*** Fine copy of Mirbeau's erotic novel, the only work to contain original plates by Rodin.

Jean Marchand, French 1883–1941 - Landscape study; oil on board, signed lower left 'J. Marchand', 14.3 x 19.2 cmNote: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the woodland landscape. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery. 

Jean Marchand, French 1883–1941 - Landscape study; oil on canvas laid down on board, signed and indistinctly dedicated lower right 'J. Marchand', 23.8 x 28.3 cm (unframed) Note: This is a wonderful example of the artist's later style, similar to the work of Albert Marquet in its gently modern depiction of the woodland landscape. Marchand was included in pivotal Modernist exhibitions in France and Britain in the early 20th century, including Roger Fry's 'Manet and Post-Impressionism' in 1910 and another in 1912. The artist became associated with the Bloomsbury group around this time and his solo show at Carfax Gallery in 1919 was highly praised by Clive Bell. Works by the artist are in public collections across the UK, including Charleston, Tate and the Courtauld Gallery. 

Manet, Édouard (1832 Paris 1883), nach "Berthe Morisot". Radierung (Papier l. vergilbt). 27,5x 22,5 cm.

Berthe Morisot (French 1841-1895): Young Girl with a Cat, after a portrait of Julie Manet by Renoir, drypoint etching, labelled verso 13cm x 11cm

A QUANTITY OF PICTURES AND PRINTS ETC, to include three Dave Barnes charcoal sketches for a proposed Holocaust sculpture, approximate sizes 58cm x 32cm, two watercolour landscapes by J Benbow - some discolouration, a watercolour depicting the Notre Dame Cathedral in Rodez, signed and dated A.A. Simco 1892, an indistinctly signed Italian river and city watercolour scene, approximate size 6cm x 14cm, miniature watercolours of birds and flowers by David Andrews and Kay Gray, miniature watercolour and feather picture of an Eagle owl by Janet Grant, two Willian Russell Flint open edition prints 'The Francis and Jane at Birdham' and 'The Unexplored City' together with a reproduction letter regarding 'The Marchesa's Boathouse', five prints depicting mounted Cavalry officers, a reproduction Samuel Abbott golf print 'To the Society of Coffers at Blackheath' and an Edouard Manet print 'Boy with soap bubbles'

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

Adam Aaronson - A contemporary studio glass vase of hexagonal form with brown core with white trail and spots design, for the Royal Academy of Arts after Tulip and Roses in a vase by Edouard Manet, engraved signature to base and dated 1992, height 15cm.

MONET CLAUDE: (1840-1926) French Impressionist painter. An interesting A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 12th October 1921, to Monsieur [Lucien] Moline, in French. The artist writes in bold pencil and states that he has just returned from a trip and ´trouve une lettre de Madame Donop de Monchy qui s´étonne aussi que je ne reconnaisse pas cette toile de la gare d´Argenteuil, bien qu´elle me dise qu´elle est peut-être de Manet (Ce que je ne crois pas) que de Bellio lui a toujours dit qu´il la tenait de moi´ (Translation: ´found a letter from Mrs Donop de Monchy, who was also surprised that I did not recognise this painting of Argenteuil station, although she told me that it might be by Manet (which I do not believe) that de Bellio had always told her he got it from me. It is possible and it might be by me´), further remarking ´Je suis vieux, ma mémoire peut me faire défaut et dans ce cas ma conscience m´oblige à refuser de mettre mon nom au bas de cette toile dont je n´ai pas souvenance. Ne voyez , je vous prie, aucune mauvaise part dans ma decisión et croyez à tous mes regrets´ (Translation: ´I am old, my memory may fail me and in that case my conscience compels me to refuse to put my name at the bottom of this canvas of which I have no recollection. Please do not see any bad part in my decision and believe me when I say how sorry I am´). Together with an original vintage 6.5 x 4.5 (approximately 16.5 x 11 cm) photograph of the painting to which Monet refers in his letter, being La gare d´Argenteuil (1872), signed and inscribed by Monet in blue ink to the verso, ´La toile que reproduit m´a tout l´air d´être de moi, sans oser l´affirmer. C´est si lointain vers 1872 ou 1873. Claude Monet´ (Translation: ´The canvas that is being reproduced looks to me as if it were all mine, without daring to say so. It is so distant, around 1872 or 1873. Claude Monet´). A fascinating letter and accompanying photograph, which was indeed a painting by Monet created in 1872. The letter in very good condition and the photograph with some light age wear, a couple of surface creases, and some foxing to the verso, G to VG, 2Lucien Moline was a well known French art dealer and agent, who also represented the sculptor Auguste Rodin, and operated from a gallery on Rue Laffitte in Paris.La gare d´Argenteuil (1872) is an oil painting that appears in Daniel Wildenstein´s catalogue raisonné of Monet. The artist sold the painting to the Durand-Ruel Gallery in 1872 and was possibly restored to Monet since there is no reference to it in Durand-Ruel´s ledgers. It was subsequently sold to De Bellio in June 1876, and then to Madame Donop de Monchy (the catalogue raisonée indicating that she acquired the painting in around 1940, although the present letter demonstrating that she owned it at least several decades earlier). On 25th May 1986 it appeared at auction and was acquired by the Conseil Général of the Val-d´Oise department, and subsequently entrusted to the Musée Tavet-Delacour in Pontoise.Many art historians believe that Monet, out of all of the notable 19th century artists, made the most paintings of trains in his lifetime.

MONET CLAUDE: (1840-1926) French Impressionist painter. An important collection of three outstanding A.Ls.S. by Monet to various correspondents, including Suzanne Manet and Camille Pissarro, regarding the raising of funds by public subscription for the acquisition of Edouard Manet´s famous masterpiece, the oil painting Olympia (1863). The collection comprises (in chronological order) -(i) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 26th August 1889, to [Jean-Baptiste] Faure (´Mon cher Faure´), in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je viens vous demander si vous voulez participer à la souscription que nous faisons entre amis et admirateurs de Manet pour acheter l´Olympia de Manet et l´offrir au Louvre. Nous serions très heureux de vous compter parmi nous pour cette manifestation toute artistique. Je sais bien que ce tableau de Manet n´est pas votre préféré mais si nous l´avons choisi c´est surtout parce qu´il appartient à Madame Manet à laquelle nous voulons discrètement venir en aide, et aussi parce qu´il était le tableau préféré de Manet. C´est un bel hommage à rendre à l´artiste et j´espère bien que vous me ferez une réponse favorable. Vous priant de me dire pour quelle somme je dois vous inscrire. Je vous adresse la liste des souscriptions à ce jour´ (Translation: ´I have come to ask you if you would like to take part in the subscription that we, Manet's friends and admirers, are making to buy Manet's Olympia and offer it to the Louvre. We would be very happy to count you among us for this artistic event. I know that Manet's painting is not your favourite, but we have chosen it mainly because it belongs to Madame Manet, whom we wish to discreetly help, and also because it was Manet's favourite painting. It is a fine tribute to pay to the artist and I very much hope that you will give me a favourable response. Please let me know the amount I should register you for. I am sending you the list of subscriptions to date´). Some light age wear and a lengthy, neat split to the central vertical fold of the bifolium.Jean-Baptiste Faure (1830-1914) French baritone and art collector. An enthusiastic and avid collector of Impressionist art, Faure sat for multiple portraits by Edouard Manet, and owned more than sixty paintings by the artist (including another masterpiece Le déjeuner sur l´herbe). Faure´s collection also featured works by Monet, Edgar Degas, Alfred Sisley, and Camille Pissarro.(ii) A.L.S., Claude Monet, four pages, 8vo, Giverny par Vernon, Eure, 13th November 1889, to [Suzanne Manet] (´Chère Madame´), in French. Monet states that he has received his correspondent´s kind letter, and was happy to have been able to please her, continuing to remark ´Vous savez combien j´aimais votre cher mari et combien je serai fier d´avoir pu contribuir à lui faire obtener la place à laquelle il a tant de droits´ (Translation: ´You know how much I loved your dear husband and how proud I will be to have been able to help him obtain the position to which he is so entitled´) and further writing ´Il ne faut pas nous illusioner car ce qui vous parait si naturel parait à d´autres bien audacieux et ce qui est triste à dire il y a encore des ennemis qui refusent de se rendre, mais pour ma part je puis vous assurer que je ne me rebuterai pas et que je ferai tout pour arriver au but que nous voulons´ (Translation: ´We must not delude ourselves because what seems so natural to you seems very bold to others and sadly there are still enemies who refuse to give in, but for my part I can assure you that I will not be discouraged and that I will do everything to achieve our goal´) and concluding by adding ´Mr. Portier que vous avez vu, m´ecrit pour me demander ce que vous devez faire de l´Olympia. Je crois que le mieux , si l´on vous aporte d´autres tableaux, de prendre également l´Olympia chez vous… à moins cependant que vous le mettez chez Madame Eugène Manet [Berthe Morisot], mais il ne faut pas douter… que nous avons encore un mois de pourparlers avant d´obtenir satisfaction et dont je vous mettrai au courant´ (Translation: ´Mr Portier, whom you saw, has written to ask me what you should do with the Olympia. I think that the best thing, if we bring you other paintings, is to also take the Olympia to your place... unless, of course, you put it at Madame Eugène Manet's [Berthe Morisot], but there's no doubt about it... that we still have a month of talks before we get satisfaction, and I will keep you informed´). Some light overall age toning, evidently a result of the letter having previously been framed, the text of two pages (including the final one, with Monet´s signature) somewhat faded, although still legible. One small area of paper loss to a corner, professionally repaired to a satisfactory standard.Suzanne Manet (1829-1906) Dutch pianist, the wife of Edouard Manet, for whom she frequently modelled. Berthe Morisot (1841-1895) French Impressionist painter, the wife of Eugène Manet, brother of her friend and fellow artist Edouard Manet.(iii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 23rd November 1889, to Camille Pissarro (´Mon cher Pissarro´), in French. Writing in his characteristic bold purple ink, Monet acknowledges receipt of his friend´s letter and their contribution of 50 francs in the form of a money order to the Manet subscription fund, although adding that there was no urgency. Monet also explains that the fund now holds 18,500 francs and that he hopes to reach a round figure very soon, however the painter continues to state ´Mais il reste le plus difficile, l´admission de notre don par l´état et je sais déjà que pendant que je travaille à arriver au résultat, d´autres travaillent aussi mais en sens inverse et pour faire avorter notre oeuvre. Proust le premier m´a écrit, tout en souscrivant, qu´il ne voulait pas se charger de faire accepter ce tableau par l´état, considérant L´Olympia coome un des moins bons Manet´ (Translation: ´But the most difficult part remains, convincing the state to accept our gift, and I already know that while I am working to achieve the result, others are also working, but in the opposite direction and to abort our work. Proust was the first to write to me, and although subscribing, he does not want to take charge of making the state accept this painting, considering L'Olympia as one of Manet's least good works´) further describing Proust´s reaction as silly and comical. In concluding Monet remarks ´Mais je crois qu´il est du devoir des artistas de pousser cette affaire, quant à moi je ferai tout pour arriver à notre but´ (Translation: ´But I believe it is the duty of artists to push this matter, and for my part I will do everything to achieve our goal´).Camille Pissarro (1830-1903) French Impressionist painter. An absolutely remarkable trio of letters relating to one of the most famous and iconic paintings in the history of Impressionist art. G to VG, 3Autograph letters by Monet on the subject of Olympia, most of which were addressed to friends in his artistic circle, are highly desirable and each of the present three examples display individual merits in both their exceptional content and associations.

MANET EDOUARD: (18[32-1883) French Painter. Manet is widely regarded as the founder of Impressionism painting. A good A.L.S., `E. Manet´, one page, n.p., n.d. [`Friday´], to Claude Monet, in French. Manet writes to his good friend and colleague Monet, in full, ‘Merci mon cher Monet, mais je vous croyais plus... que cela. Pour moi c´est comme un cauter sur une jambe de bois. Je suis fâché de vous savoir malade, j´espère que cela ne sera rien, amitiés´ (Translation: "Thank you my dear Monet, but I thought you were more... than that. For me it is like a cautery on a wooden leg. I am sorry to know that you are ill, I hope it will be nothing, I send you my friendly regards"). Paper with atermark. VGClaude Monet (1840-1926) French Impressionist Painter.

* Morisot-Pontillon (Edma, 1839-1921). Figure by a River, oil on canvas, signed lower right, 52 x 65 cm (20.5 x 25.5 ins), period gilt carved wooden frame, frame size 58 x 74 cmQTY: (1)NOTE:Edma Morisot was the older sister of the impressionist painter Berthe Morisot, close friend of Edouard Manet, and the only woman to exhibit at the first Impressionist exhibition in 1874, alongside Degas, Renoir, and Monet. Both Edma and Berthe were taught by Camille Corot whose influence can clearly be seen in Edma's Barbizon-style landscapes, as here. When Manet first met the Morisot sisters in 1868, he wrote (perhaps ironically) 'What a shame they are not men'.

Circle of Edouard Manet, French 1832-1883- Portrait of a young boy;oil on panel, 25 x 21 cm. Held in a late 18th-century or early 19th-century Louis XIV-style carved and gilded frame. Provenance: Private Collection, UK. Note: The model in this energetically painted 'ad vivum' oil sketch appears to be similar to portraits of Manet’s 10-year-old stepson, Léon Koëlla Leenhoff (1852-1927). Manet made a number of paintings and etchings in which his stepson appears as the model, for example, 'Spanish Cavaliers', 1859-60 [Musée d’Orsay, Paris no.L.2024.2]. In the present work, the young boy looks up at the artist, keenly aware of being observed. The fine striping of the cream smock enlivens a dazzling painting surface, with a heavy touch of the brush, in contrast to the thinly applied paint in the shadows.

PIERRE-AUGUSTE RENOIR (ZUGESCHRIEBEN)1841 Limoges - 1919 Cagnes-sur-MerAUTOGRAPH Tinte auf kariertem Papier. 22,5 x 18 cm. Gebräunt, leicht Randbesch., Vertikalknick. "Mon cher ami,j'ai été tous ces temps derniers très brouillé. De nombreuses lettres à écrire, ce que je n'aime pas. Mon frère qui revient de Russie, etc. Bref, j'ai oublié de t'écrire sur la vente Manet, qui a marché au-delà de toutes les espérances, car il n'y avait rien. Ces deux salles, du fond que tu connais pleines non seulement d'esquisses, mais de deux traits de pastel. Les quelques toiles importantes ne suffisaient pas à faire oublier cet ensemble qui faisait hurler avec quelque raison. Heureusement qu'il y a eu emballage d'amis qui ont mis la chose en train. Jusqu'à Chabrier, qui ne dépasse jamais les 20 francs, et qui en a dépensé 5.000 pour le Bar. De plus, deux autres toiles en pastels, et le portrait de M..., le poète anglais, 1.800 francs. Bref, 7.300 ( ?) francs le premier jour. Si l'on avait vendu tout ce même jour, tout serait parti à des prix très élevés. Mais, le lendemain, les mêmes choses qui seraient allés la veille à 1.500 ( ?), on les avait pour deux et trois cents francs.En somme, pour ce qui restait dans l'atelier de Manet, c'est magnifique.La famille a eu la bêtise de racheter l'Argenteuil à 12.500, le père Chocquet a acheté ton portrait en bateau 12 ou 15.000. (...) le tout a fait 115.000. Il reste environ 90.000 francs de net.Je vois d'après tes lettres que tu es content et que, malgré tes tracas, tu vas nous rapporter des choses nouvelles. Nous les attendons avec impatience. Tu as probablement lu les articles au Wolf..., il commence à te faire bloquer, non pas par sa rosserie ( ?), mais parce qu'il est devenu incompréhensible. Tu as dû voir aussi le (...) de Pailleron pour sa réception à l'Académie. Enfin, on s'est fort amusé à Paris en temps derniers.A toiRenoir""Mein lieber Freund,ich war in letzter Zeit sehr beschäftigt. Es gibt viele Briefe zu schreiben, was mir nicht gefällt. Mein Bruder, der aus Russland zurückkommt usw. Kurz gesagt, ich habe vergessen, Dir über den Manet-Verkauf zu schreiben, der alle Erwartungen übertroffen hat, weil es nichts gab. Diese beiden Räume im hinteren Bereich, die Du kennst, sind nicht nur voller Skizzen, sondern auch mit zwei Pastellen. Die wenigen bedeutenden Gemälde reichten nicht aus, um uns dieses Ensemble vergessen zu lassen, das einen nicht ohne Grund zum Schreien brachte. Zum Glück gab es ein paar Freunde, die den Anfang machten. Bis hin zu Chabrier [Anm.: Emmanuel Chabrier, Komponist], der nie die 20 Francs überschreitet und der 5.000 für die 'Bar' [Anm.: hier ist wohl das Gemälde 'Bar aux Folies Bergères' gemeint] ausgegeben hat. Dazu zwei weitere Pastellgemälde und das Porträt von M..., dem englischen Dichter, 1.800 Francs. Kurz gesagt, 7.300 (?) Francs am ersten Tag. Wenn wir alles am selben Tag verkauft hätten, wäre alles zu sehr hohen Preisen verkauft worden. Aber am nächsten Tag bekam man die gleichen Dinge, die am Tag zuvor 1.500 (?) gekostet hätten, für zwei- oder dreihundert Francs.Kurz gesagt, für das, was in Manets Atelier übrig geblieben ist, ist es großartig.Die Familie war dumm genug, Argenteuil für 12.500 zu kaufen, Vater Chocquet [Anm. : Victor Chocquet, 1821-1891, Freund und Sammler der Impressionisten] kaufte Dein Porträt im Boot für 12 oder 15.000. (.) Das Ganze hat 115.000 gebracht. Es verbleiben netto rund 90'000 Francs.Aus Deinen Briefen erkenne ich, dass Du glücklich bist und uns trotz Deiner Sorgen Neues bringen wirst. Wir erwarten es mit Ungeduld. Du hast wahrscheinlich die Artikel in Wolf... gelesen, er fängt an, Dich zu blockieren, nicht wegen seines Blödsinns, sondern weil er unverständlich geworden ist. Du musst auch die (...) von Pailleron [Anm. : Edouard Pailleron, 1834 - 1899, Autor und Journalist] für seinen Empfang an der Akademie gesehen haben. Schlussendlich hat man sich in Paris in letzter Zeit sehr amüsiert.DeinRenoir" Wohl 1883 nach dem Tod Manets an einen unbekannten, wohl aber aus Künstlerkreisen stammenden, Adressaten verfasster Brief bezüglich eines Verkaufs von Werken aus dem Atelier Manets. Bei dem Adressaten könnte es sich um Claude Monet handeln, da im Brief ein Gemälde erwähnt wird, das diesen in einem Boot zeigt (wohl 'Die Barke' von 1874). Auch die im Brief erwähnte und 1882 erfolgte Aufnahme Edouard Paillerons in die Académie Francaise sowie die Erwähnung des Gemäldes 'Bar aux Folies Bergères', das 1882 entstand, bilden einen Rahmen für die Datierung des Briefes.

Stephen Prina (American, b.1954) 'Exquisite Corpse: The Complete Paintings of Manet (129 of 556)’, 1988 ink wash on paper and offset lithograph 46.5 x 36.5cm and 65.5 x 82.5cm (2)Provenance: With Karsten Schubert, London;Richard Salmon Gallery, London. Exhibited: Karsten Schubert, London, 'Stephen Prina: The Complete Paintings of Manet, Recent Work', 3 October - 28 October 1989;Richard Salmon Gallery, London, 'Sequence', 29 August - 20 September 1997.Condition ReportLegend: framed, 75 x 92cm. Stuck down in the corners. Light cockling. On close inspection some extremely faint spots and speckles of discolouration/ foxing are starting to emerge. Not viewed out of glazed frame. Ink and wash: framed, 56 x 46cm. Cockling. Light crease marks to the centre and lower centre. Dirty marks on reverse of framing. Not viewed out of glazed frame.

Édouard Manet, "La chat et fleurs", Radierung von 1869, gerahmtÉdouard Manet, 1832 Paris - 1883 ebd., "La chat et fleurs", Radierung, 17 x 13 cm, in der Platte sign., hinter Glas gerahmt

WEMPE BY KIM Anhänger mit Kette, "Tempus Fugit Amor Manet". 925 Silber 51,9g. L: ca. 72 cm,D: ca. 4 cm 21. Jh, leichte Tragespuren.| WEMPE BY KIM pendant with necklace"Tempus Fugit Amor Manet". Sterling silver, 51,9g. Length: ca. 72 cm, D: ca 4 cm. 21st century, minor signs of wear.

Wunderlich, Paul1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Provence, Mappe mit drei Original-Lithografien, "Jagdpoesie", "Nach Manet" "Paul gut getroffen", 1983, je signiert und nummeriert 50/1000, auf Rives-Bütten, 60 cm x 48 cm, Wunderlich ist ein deutscher Maler des Neosurrealismus (Versandhinweise beachten)

Wunderlich, Paul1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Provence, Mappe mit drei Original-Lithografien, "Jagdpoesie", "Nach Manet" "Paul gut getroffen", 1983, je signiert und nummeriert 50/1000, auf Rives-Bütten, 60 cm x 48 cm, Wunderlich ist ein deutscher Maler des Neosurrealismus (Versandhinweise beachten)

Édouard Manet, French 1832-1883,Les Petits cavaliers, after the painting attributed to Velazquez, c.1860;monochrome etching on Velin paper, indistinctly inscribed with signature in the lower margin, and inscribed 'Ed Manet' in pencil on the reverse, sheet: 29.5 x 46.5 cm, (framed) Note: Ref. Guerin 8, Harris, 5

Bazire,E.: Manet. Ilustrations d'après les origineaux et gravures de Guérard. Paris, A. Quantin 1884. 25,5 x 17 cm. ╔Mit 2 Orig.-Radierungen von E. Manet╗ und 9 Tafeln in Heliogravüren nach Manet von Guérard. Lederimitation auf Leinenbasis. (Orig.-Broschur eingebunden). Vicaire I, 354. - Erste Monographie über Manet (1832-1883), die Bazire kurz nach dessen Tod veröffentlichte, und eine der wichtigsten biographischen Primärquellen besonders zu den letzten Lebensjahren des Künstlers. Erste Ausgabe. - Enthält die beiden Orig.-Radierungen Odalisque (Guérin 64, Harris 56) und La Convalescente (Guérin 65/3, Harris 85/3). Beide in diesem Werk erstmals veröffentlicht. - Zudem Widmungsexemplar des Autors. - Tls. unaufgeschnitten. Orig.-Umschlag leicht schmutzfl., vord. Innengelenk etw. angebrochen, erste Tafel verso gestempelt. - First edition of the first monograph on Manet. With a dedication by the author. With 2 orig. etchings by E. Manet and 9 plates in heliogravures after Manet by Guérard. Later cloth, orig. wrappers bound in. - Partly unopened, orig. wrappers slightly stained, front inner joint torn, first plate stamped verso.

JEAN HIPPOLYTE MARCHAND (FRENCH 1883-1940) PAYSAGE DE PARIS Signed lower right, inscribed with artist's name and title to stretcher verso, oil on canvas 53cm x 45cm (21in x 17.75in) From the Estate of Dorothy Bohm Parisian suburban life is evoked in this verdant oil by Jean Hippolyte Marchand. A walker, an agricultural worker and a figure on horseback are painted with post-Impressionist brevity, their white headdresses suggesting we may be glimpsing the cloistered world of a religious order. The trees’ spindly boughs appear to bend in the breeze, their canopies ripening to an autumnal gold. Marchand imbibed the tonal vivacity and stylised naivete of French modernism. Often described as a cubist, it was in fact only his early work that explicitly channelled cubism’s crystalline delineation, and from the mid-1910s his forms assumed a gentler organic quality while retaining an avant-garde sensibility. Marchand attained the distinction of inclusion in Roger Fry’s 1910 Manet and Post Impressionism exhibition at London’s Grafton Galleries. He became acquainted with Clive Bell and henceforth folded into the Bloomsbury circle. A number of his works were acquired by the important collector Samuel Courtauld. Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. 

JEAN HIPPOLYTE MARCHAND (FRENCH 1883-1940) STILL LIFE OF POPPIES IN A VASE Signed lower left, oil on canvas 60cm x 49cm (23.75in x 19.25in) From the Estate of Dorothy Bohm Marchand imbibed the tonal vivacity and stylised naivete of French modernism. Often described as a cubist, it was in fact only his early work that explicitly channelled cubism’s crystalline delineation, and from the mid-1910s his forms assumed a gentler organic quality while retaining an avant-garde sensibility. Marchand attained the distinction of inclusion in Roger Fry’s 1910 Manet and Post Impressionism exhibition at London’s Grafton Galleries. He became acquainted with Clive Bell and henceforth folded into the Bloomsbury circle. A number of his works were acquired by the important collector Samuel Courtauld. Dorothy Bohm was a British photographer based in London, known for her portraiture, street photography, early adoption of colour, and photography of London and Paris. She is considered one of the doyennes of British photography.Dorothy Bohm was born in 1924 in Koenigsberg, East Prussia and moved to England in 1939. By the age of 21, she was running her own very successful portrait studio in central Manchester, known as Studio Alexander. In the mid-1950s, she lived for a while both in Paris and New York before settling definitively in northwest London. Her first solo exhibition, People at Peace, took place at the Institute of Contemporary Arts in London in 1969, and 1970 saw the publication of her first book, A World Observed. Numerous more books and exhibitions would follow. In 1971 she was closely involved in the founding of The Photographers’ Gallery, and served as its Associate Director for the next fifteen years. By the 1990s Dorothy was firmly established as one of the doyennes of British photography, with work in numerous public and private collections, including Tate, the Victoria & Albert Museum, Guildhall Art Gallery and the Musée Carnavalet, Paris. 

EDOUARD MANET (1832-1883) 'Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face)' after a photograph by Nadar, 1868, etching on thin laid paper, with printed inscription to lower margin of the image "Peint et Gravé par Manet 1865" and "Imp. A. Salmon", plate size 9.5cm x 8.2cmProvenance: The collection of the late John Hubbard (1931-2017) and Caryl Hubbard CBE (1933-2021), Chilcombe House, Dorset.

A group of history of art books, to include mostly impressionism artists Julie Manet, Claude Monet and Germain Bazin ect, approx, 12.

15 Kunstbände *Malerei* dabei *Die Schwäbische Malerei um 1900* Thomas Maier u. Bernd Müllerschön, Stuttgart 2000, *RENOIR* Sophie Monneret, DuMont Buchverlag Köln 1990, *WATTEAU 1684 bis 1721*, Hans-Peter Bühler *Anton Braith, Christian Mali* Tiermalerei der Münchner Schule, 1981, *Münchner Maler im 19. Jhd.* Bruckmanns Lexikon der Münchner Kunst, Band 1, 2 und 4, *Antoine Watteau* Donald Posner, 1984, *Velázquez* Josè López-Rey, Werkverzeichnis, Band 1, Maler der Maler, 1999, *Münchner Malerei im 19. Jhd.* Horst Ludwig, Hirmer Verlag München 1978, Broschur teils eingerissen, *Die Deutsche Malerei, von Anton Graff bis Hans von Marées 1760-1870* Helmut Börsch-Supan, Verlag C.H.Beck, Deutscher Kunstverlag, 1988, *Edgar Degas 1834-1917* Bernd Growe, Benedict Taschenverlag, 1991, *Otto Pippel 1878-1960* Hermann Reiner, Babenhausen, 1980, *Die Holländische Marinemalerei des 17. Jhds.* Laurens J. Bol, Klinkhardt und Biermann, Braunschweig, 1973, *Manet* Francoise Cachin, DuMont Buchverlag Köln, alle größtenteils in gutem Zustand, wenig Gebrauchsspuren, diverse Einbände, dabei Taschenbuch, Hardcover, Orig.Leinen, z.T. mit Broschur, alle mit zahlr. teils farbigen Abb., 15 Stk.

After David Hockney (British 1937-): 'Serenade, exhibition poster for the V&A 'From Manet to Hockney', pub. 1985, 74cm x 49cm

Edouard Manet (French 1832-1883), 'Le Chat aux Fleurs, 1869' (cat with flowers), signed within the plate, 19.5x15cm

Edouard Manet (French 1832-1883) Le Gamin, 1862, signed in the plate, etching, 20.5 x 14.5 cm (PL), frame 56 x 48 cm Provenance: Collection of Mr Magdi Obeid, purchased from Black Ink Master Prints 2004