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[MANET (Edouard)]. DURET (Théodore). Edouard Manet Sein Leben und Sein Kunst. Translated by Dr. E.Waldmann-Bremen. Berlin: P. Cassirer 1910, 4to, with two etchings and a coloured woodcut, some toning, vellum, a little stained

Nachlass mit GOLD und SILBER im großen Alukoffer. Goldanteil gesamt ca. 35 g und Feinsilber gesamt ca. 350 g. Davon Goldanteil: Im kleinen Alukoffer: 10 x Kleine Goldmünzen/-medaillen aus 585er Gold, div. Motive und Jahrgänge, je ca. 0.3 g Gold fein; 4 x Kleine Goldmünzen/-medaillen aus 999,99 Gold, div. Motive und Jahrgänge, je ca. 0.5 g Gold fein; 1 x BRD - 100 Euro 'FIFA Fußball WM 2006' 2005, 1/2 Unze Gold fein, vz aus stgl.; 1 x BRD - 1 DM 2001/F, Zum Abschied der DM, vz-stgl., 12g Gold fein, im Originaletui; 1 x Frankreich - Frankreich 1/4 € 'The Euro of Children' 2002, PP, ca. 3.1 g Gold fein, im Originaletui mit Zertifikat; Davon Silberanteil u. a.: 1 x Vatikan - Kursmünzensatz Benedictus XVI 2008 mit Silbermedaille, ca. 38.5 g Ag fein; 1 x Silberbarren geprägt, Hersteller Umicore 100 g, luftdicht verschweißt; 1 x Malawi - 50 Kwacha 2010, 1 Unze Ag fein; 1 x Österreich - 1,5 Euro Philharmoniker 2008, 1 Unze Ag fein; 1 x Südkorea - 2 Won 2010, 7g Ag fein; 1 x Finnland - Silbermedaille farbige Winterszene 2008, 18.7 g Ag fein; 1 x Cook Islands - 10 Dollars Burj Dubai 2010, Skulpturmünze, 28.6g Ag fein; 1 x Frankreich - 100 Francs 1991, 19.9g Ag fein; 1 x Niederlande - 10 Gulden 1970, 18 g Ag fein; 1 x Niederlande - 2,5 Gulden 1966, 10.8g Ag fein; 1 x Niederlande - 1 Gulden 1955, 4.6g Ag fein; 2 x Niederlande 1/2 Gulden 1929-1930, je 3.7g Ag fein; 2 x Niederlande - 25 Cents (1/4 Gulden) 1939-1945, je 2.2g Ag fein; 2 x Niederlande - 10 Cents 1938-1941, je 0.8 g Ag fein; 2 x Frankreich - 1/4 Euro Degas/Manet 2007 Silbermünzbarren, je 13.5g Ag fein; 1 x Australien - 1 Dollar Ferkel 2007, 32g Ag fein; Des Weiteren 7 x San Marino - 2 Euro Sonderprägungen 2004-2010; 2 x San Marino - 1 Euro 2009; 1 x San Marino - Kursmünzensatz 2006-2009; 1 x San Marino - Kursmünzensatz 2007; Sowie 1 x BRD - Sonderprägung 2008 in CuNi. Erhaltungen verschieden.| Estate with GOLD and SILVER in a large aluminum case. Total gold content approx. 35 g and total fine silver approx. 350 g. Of which gold content: In the small aluminum case: 10 x small gold coins/medals made of 585 gold, various designs and years, each approx. 0.3 g fine gold; 4 x small gold coins/medals made of 999.99 gold, various designs and years, each approx. 0.5 g fine gold; 1 x BRD - 100 Euro 'FIFA Fußball WM 2006' 2005, 1/2 ounce fine gold, mint from original case; 1 x BRD - 1 DM 2001/F, Zum Abschied der DM, mint from original case, 12 g fine gold, in original case; 1 x France - France 1/4 € 'The Euro of Children' 2002, PP, approx. 3.1 g fine gold, in original case with certificate; of which silver part, among others: 1 x Vatican - coin set Benedictus XVI 2008 with silver medal, approx. 38.5 g Ag fine; 1 x silver bar minted, manufacturer Umicore 100 g, airtight sealed; 1 x Malawi - 50 Kwacha 2010, 1 oz Ag fine; 1 x Austria - 1.5 Euro Philharmonic 2008, 1 oz Ag fine; 1 x South Korea - 2 Won 2010, 7g Ag fine; 1 x Finland - silver medal colored winter scene 2008, 18. 7g Ag fine; 1 x Cook Islands - 10 Dollars Burj Dubai 2010, sculpture coin, 28.6g Ag fine; 1 x France - 100 Francs 1991, 19.9g Ag fine; 1 x Netherlands - 10 Gulden 1970, 18g Ag fine; 1 x Netherlands - 2.5 Gulden 1966, 10.8g Ag fine; 1 x Netherlands - 1 Gulden 1955, 4.6g Ag fine; 2 x Netherlands 1/2 Gulden 1929-1930, 3.7g Ag fine each; 2 x Netherlands - 25 Cents (1/4 Gulden) 1939-1945, 2.2g Ag fine each; 2 x Netherlands - 10 Cents 1938-1941, 0. 8 g Ag fine; 2 x France - 1/4 Euro Degas/Manet 2007 silver coin bars, each 13.5g Ag fine; 1 x Australia - 1 Dollar Piglet 2007, 32g Ag fine; Furthermore 7 x San Marino - 2 Euro commemorative coins 2004-2010; 2 x San Marino - 1 Euro 2009; 1 x San Marino - coin set 2006-2009; 1 x San Marino - coin set 2007; as well as 1 x BRD - commemorative coin 2008 in CuNi. Mintages and conditions various.

Maler/Kopist des 20. Jh."Am Strand", ein Paar das Meer beobachtend, Darstellung nach Eduard Manet, unsign., Öl/Holzplatte, HxB: 50/63 cm. Altersspuren, Farbabrieb, verschmutzt. Mit Rahmen.

Six framed prints, comprising After Salvador Dali Autumn Cannibalism, 50.5cm x 50.5cm, After Manet, The Piper, 59.5cm x 35cm, After Raoul Dufy, The Concert, 43cm x 54cm, After Raoul Dufy, Regatta at Cowes, 45cm x 56cm, De Rousseau Le Cascade, 40cm x 49cm, and After Jean Baptiste, Simon Jardin The Kitchen Maid, 44cm x 35cm, in white painted frames. (6)

Six framed prints, comprising after Henri Matisse The Goldfish, 61cm x 41cm, after Russo, The Walk, 43.5cm x 53.5cm, after Renoir, The Artist's Son, 43cm x 54cm, after Matisse Utrillo Christmas in Montmartre, 35cm x 44.5cm, Edouard Manet, A Bar at the Folies Bergere, 34cm x 77cm, and after Rembrandt, A Girl with a Broom, 64.5cm x 55cm, each in painted white frame. (6)

HENRI LAURENSRAYMOND RADIGUET: Les Pélican. Paris: Galerie Simon (1921). 32,5 x 23 cm. Mit 5 rad. Vign. (1 auf d. Umschlag) und 2 Radierungen auf Tafeln von Henri Laurens. 11 Bll. OrUmschlag mit Vign. von H. Laurens.Nr. 91 von 90 Ex. (num. 11-100; GA 112) auf Van Gelder Bütten, im Druckvermerk von Autor und Künstler signiert. - The Artist and the Book 156. Skira 194. From Manet to Hockney 62. Monod 9448. - Neben „Poèmes en Prose“ (1916) eine der ersten Arbeiten des Bildhauers Laurens als Buchillustrator, unter Kahnweilers Direktive erstellt. Kahnweiler betitelte den Kubisten Henri Laurens (1885-1954) als den größten Bildhauer seiner Zeit. Laurens Bekanntheitsgrad als Illustrator begann während und nach dem Zweiten Weltkrieg mit Illustrationen zu Ausgaben der Autoren Tzara, Eluard, Theocritus und Lucian. Er verkehrte in Kreisen George Braques und Guillaume Apollinaires, Kahnweiler wurde 1921 sein Agent. - Selten.

Édouard Manet1832 Paris - 1883 Paris - "Jeanne" - Radierung/Papier. 17 x 11,6 cm (Passepartoutausschnitt). Sign. im Druck l. u.: Manet. Passepartout. Unter Glas gerahmt. Gebräunt. Stockfleckig. - Lit.: Guerin 66.

Félix Bracquemond1833 Paris - 1914 Sevres nach Gustave Courbet - "Les Demoiselles de Village" - Kaltnadelradierung/Papier. 23,8 x 31,5 cm, 25,9 x 34,3 cm (Blattmaß). Sign. im Druck r. u.: G. Courbet. L. u. in typografischer Schrift sign.: G. Courbet sculp. M. u. bet.: Les Demoiselles de village. Mit Stempel des Sammlers l. u. Passepartout. Auf Unterlegkarton befestigt. Leicht stockfleckig. Leicht gebräunt. Auguste Joseph Bracquemond, genannt Félix Bracquemond war ein französischer Maler, Grafiker und Porzellanmaler. Mit seinen neuen Methoden der Radierung regte der mit zahlreichen impressionistischen Malern bekannte Künstler etwa Édouard Manet, Edgar Degas und Camille Pissarro an, sich dieser Technik zu bedienen.

HENRI FANTIN-LATOUR (FRENCH 1836-1904) ROSES THÉ Oil on canvas Signed and dated 74 (upper right) 44 x 39.5cm (17¼ x 15½ in.)Provenance: Private Collection, Edwin Edwards, London The Lefevre Gallery (Alex. Reid & Lefevre, Ltd.), Glasgow Acquired from the above by the family of the present owner Thence by descentExhibited: Poughkeepsie, New York, Vassar College Art Gallery (now The Frances Lehmann Loeb Art Center), circa 1977-1980 (loaned by the mother of the present owner)Literature: Madame Fantin-Latour, Catalogue de l'Oeuvre complet de Fantin-Latour, Paris, 1911, p. 79, no. 722 (Titled 'Roses') The authenticity of this work has been confirmed by Brame & Lorenceau and it will be included in the forthcoming Catalogue Raisonne of the artist's paintings and pastels currently being prepared. Exquisite still life paintings such as the present work are synonymous with the work of Fantin-Latour. Initially trained by his father who was also a painter, Fantin-Latour went on to study alongside Edgar Degas and Alphonse Legros at the Ecole des Beaux Arts in Paris in the 1850s. The artistic milieu in which he was surrounded comprised Edouard Manet, Pierre-Auguste Renoir and Claude Monet amongst many others that would go on to be instrumental in the Impressionist movement. Fantin-Latour's work at this time comprised many group portraits of his contemporaries, but it was his flower compositions that brought him both critical and commercial success. James Abbott McNeil Whistler was instrumental in encouraging Fantin-Latour to visit London where, in 1862, he exhibited at the Royal Academy for the first time, finding success with a flower composition. He would go on to return and exhibit there almost every year until 1881. Whistler was also pivotal in introducing Fantin to Edwin and Ruth Edwards who would become his most important supporters and patrons, buying many of his still lifes and promoting his work to their friends. Fantin-Latour prioritised simple compositions, focussing his energy on the intricate representation of each element of the flower. The result is almost always a sumptuously rendered harmony of colour imbued with a sublime delicacy and an unparalleled attention to detail. The more complex compositions with both flowers and fruit show him to be the worth successor to Chardin and Courbet, bridging the artistic divide between Realism and Impressionism.Edward Lucie-Smith writes that 'Fantin's flower pieces have a special quality which is well summed up in Jacques-Emile Blanche's description of them: "Fantin studied each flower, its grain, its tissue, as if it were a human face". But this is true with one proviso: he looked at flowers, as he did at faces, with no perceptions. His belief, academic in origin, that technique in painting was separable from the subject to which the artist applied it, enabled him to see the blooms he painted not as botanical specimens, but as things which, though not necessarily significant in themselves, would generate significant art upon the canvas' (Henri Fantin-Latour, New York, 1977, pp. 22-23). Condition Report: Please refer to the department for a condition report on this lot.Condition Report Disclaimer

PHILIP WILSON STEER (BRITISH 1860-1942) THE CASINO, BOULOGNE-SUR-MER Oil on canvas Signed and dated 92 (lower right) 51 x 61cm (20 x 24 in.)Provenance: Private Collection, Thomas Humphry Ward Esq.(1845-1926), Art critic for the Times Newspaper Private Collection, Mrs. Sandwith Private Collection, Adrian McConnel Thence by descent Exhibited: London, The Goupil Gallery, Exhibition of Paintings by P. Wilson Steer, February 1894, no. 1, as 'property of T Humphrey Ward Esq.' Literature: 'Our London Correspondence', Glasgow Herald, 26 February 1894, p. 7 'From Private Correspondence', The Scotsman, 26 February 1894, p. 7 'From our London Correspondent', Manchester Courier, 26 February 1894, p. 5 'Exhibitions', Pall Mall Gazette, 27 February 1894, p. 3 'Exhibition Review, A Modern Painter', The National Observer, 3 March 1894, p. 396 G[eorge] M[oore], 'Mr Steer's Exhibition', The Speaker, 3 March 1894, p. 250 'Art: The Goupil Gallery', Weekly Dispatch, 4 March 1894, p. 6 'Studio and Gallery', Black and White, 10 March 1894, p. 294 'Fine Art: The Goupil', The Morning Post, 10 March 1894, p. 2 George Moore, Modern Painting, 1898 (Walter Scott), p. 242 DS MacColl, Life, Work and Setting of Philip Wilson Steer, 1945 (Faber & Faber), pp. 51, 193 Bruce Laughton, Philip Wilson Steer, 1971 (Clarendon Press, Oxford), p.130, (no 52)Sketches for the present work are included in Steer's sketchbook inscribed Boulogne and dated 1888. The sketchbook is held in the V&A archives under reference E 281 - 1943. Had you been standing on the upper deck of the Folkestone steamer, steering into the harbour at Boulogne-sur-Mer at the turn of the twentieth century, your view on the port side, beyond the guard rail of the jetée de l'est, would take in the plage, and the Second Empire Casino. Sitting in public gardens that contained a saltwater bathing establishment, the lines of the casino prepared you for those of the great exhibition 'palaces' of Paris, a train ride away. A quick scan of your Baedeker would tell you that the casino opened every year for the summer season from 15 June to 15 October and a day ticket would cost you two francs. Since the lights are on in Philip Wilson Steer's view of the building, we can assume that the present canvas must represent a late summer evening. Although dated '92' we know that the painter spent the summer at Cowes in that year. He would have passed through Boulogne in 1887, 1888 and 1889, producing swift sketchbook notes, three of which relate directly to the present work (fig 1). Why, in the 1880s was Boulogne and its environs so admired, and why did it supplant Walberswick in Steer's affections? The answers are various - Dannes, Étaples, Montreuil and one or two other picturesque towns nearby were supporting small colonies of British and American painters, many of whom were working in loosely Impressionist styles, while further down the coast there were the familiar haunts of Monet and Boudin. Boulogne was also one of the main points of access to Paris in the late nineteenth century, its packet-boat service having commenced in 1849. In Steer's case the specific interest in Boulogne is likely to have come first from the early work of Manet that he saw in the artist's posthumous retrospective exhibition in Paris in 1884. 'When the Manet exhibition was held', he told John Rothenstein, 'I had never heard his name. But I went and was very much interested ...The landscapes I liked very much ...' Manet had of course visited Boulogne several times in the 1860s and on one occasion on the plage, had painted the twin piers that form the harbour entrance. Fashionable promenades, these breakwaters with their white handrails had not changed when Steer painted them twenty years later.Passing through the port in the late 1880s, and again in 1891, Steer must have realized that he needed to go no further for one of the most celebrated British Impressionist paintings, Boulogne Sands. Having already painted this beach, looking north to where the hillside rolls gently towards the shore in Boulogne Sands: Children Shrimping, the Casino waterfront was a key location.There is sufficient technical variation between the Tate and Ferens canvases to leave the precise date of most works ascribed to the artist's Boulogne corpus prior to 1891, open to debate. While he was known to be capable of working in several different styles at once, the dabs and dashes of a painting of girls busily building sandcastles on a blustery day, contrast with the serenity of the present townscape - a work that takes the eye beyond the casino to the rising land of the haute ville, and the tower of the Cathédral Notre Dame. At this moment when the noisy children have gone and the casino slowly becomes incandescent, the town sinks into the crepuscular light of evening. Bruce Laughton, Steer's 1960s champion, had not seen the present painting when writing his monograph, and accepted DS MacColl's earlier assessment of it. Recalling the painting in the 1940s and thinking of the celebrated 'nocturnes' of the 1870s, MacColl had reached for the word 'Whistlerian'. It now seems most likely that the artist post-dated Casino, Boulogne '92' at the time it left his studio and when it was recalled for his solo exhibition in 1894, it had passed into the collection of Thomas Humphry Ward (1845-1926), the principal art critic and occasional leader writer on the staff of The Times. Ward apparently 'disliked that it should be known' that he was the painting's owner. George Moore was keen to make something of the fact and in praising the painting he also exposed its purchaser to a wider readership: I like ... The Casino, Boulogne, the property, I note with some interest, of Mr T Humphry Ward, art critic of The Times ... Mr Humphry Ward must write conventional commonplace, otherwise he could not remain art critic of The Times, so it is pleasant to find that he is withal an excellent judge of a picture ... The buildings stand high up, they are piled up in the picture, and a beautiful blue envelopes sky, sea, and land. Nos 1 [the present picture] and 2 show Mr Steer at his best: that beautiful blue, that beautiful mauve, is the optimism of painting, is the peculiar characteristic of Mr Steer's work. Other critics concurred, referring to its 'perfect technique' and the 'decorative charm' of its colour. Painted 'freely and flowingly', the peacefulness of this evening on the French coast was conveyed with splendid spontaneity. It had, more than the overtly 'Impressionist' studies of 1891, a 'unity of vision' that Steer considered one of the essential 'laws' of good painting. He insisted, echoing Whistler, that scenes like that of the casino, may be 'commonplace and ordinary' to the layperson, but it was for the painter to find beauty in them. As one pulled into the harbour of an evening, this called for the subtle palette of warm greys and ochres of a hillside and buildings that surround the ghostly gaming house, framed between the hints of mauve in a peaceful sky and the cool cerulean blues of a rippling tide. Kenneth McConkey

ROGER FRY (BRITISH 1866-1934) THE ROUND TABLE Oil on canvas Signed and dated 1920 (lower right) 76 x 69.5cm (29¾ x 27¼ in.)Provenance: The Mayor Gallery, London Exhibited: London, Courtauld Institute Gallery, Portraits of Roger Fry, 18 September - 14 October 1976, no.22; this exhibition travelled to Sheffield, Mappin Art Gallery, 23 October - 21 November 1976 London, The Belgrave Gallery, Masters of Modern British Painting, 1977, no.1Literature:F. Birrell and D. Garnett, Some Contemporary English Artists, London, 1921, (Illustrated)R. Shone, Bloomsbury Portraits, London, 1976 (Illustrated plate 118, p. 197)R. Shone, The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant, London, 1999, p.205, fig.120D. Edwards, Winter Sonata, Virago Modern Classics, London, (front cover illustration)J. Rolls, The Bloomsbury Cookbook, London, 2014, p.232 (illus.) In the Spring of 1920, Roger Fry visited in Vence, staying at Maison Barrière with friends and fellow artists. Amongst this group were the sculptor Marcel Gimond and his wife Julie, both depicted in the present work. Gimond created a number of portrait busts of Fry in the early 1920s. An example of which is now held in London's National Portrait Gallery. The third figure present in Fry's painting, playing a guitar, is the illustrator and Post-Impressionist artist Sonia Lewitska. Lewitska was married to Fry's close friend Jean Marchand. Although present in a small oil sketch of the same scene he is not depicted in the present work. Fry admired Jean Marchand, including his work in both of his groundbreaking exhibitions held at the Grafton Galleries; Manet and the Post-Impressionists, 1910 and The Second Post Impressionist Exhibition, 1912.  Through their friendship Marchand became closely associated with the Bloomsbury Group and Fry even dedicated a whole chapter in his 1920 book of essays Vision and Design, observing his move away from cubism; "Having once learned by this process of willed and deliberate analysis how to handle complex forms, he has been able to throw away the scaffolding and to construct palpably related and completely unified designs with something approaching the full complexity of natural forms, through the lucid statement and ease of handling which it actuates testify to the effect of his apprenticeship in Cubism." (R.Fry, Vision and Design, London, 1920, p.282) Although Fry wrote this about the work of Jean Marchand one cannot help but feel that he could have had in mind his fellow Bloomsbury artists Vanessa Bell and Duncan Grant after only recently closing the doors on the Omega Workshop due to lack of funds. Condition Report: The canvas has been relined. Ultraviolet light reveals scattered retouching to the extreme edges consistent with the relining. Otherwise in good condition. Condition Report Disclaimer

Jean Marchand, French 1883–1941 - Seascape, high tide; oil on board, signed and dedicated lower left 'a ma cheri Edith J Marchand' and further annotated on the reverse, 22.2 x 27 cm Provenance: Dreweatts, Newbury, Modern & Contemporary Art, 12th Ocober 2021, lot 132, artwork sold to benefit a charitable trust created by the late William de Gelsey; a private collector of Bloomsbury related art 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 coastal landscape, evoked in careful tones of blue and a fluid brushstroke. 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. 

Pierre Ernest Prins, French 1838-1913 - Moyettes en Seine et Oise, 1904; pastel on paper, signed lower left 'Pierre Prins', 32 x 45.5 cmNote:Prins was closely connected with Édouard Manet (1832-1883) through his wife, Fanny Claus (1846-1877), a talented violinist who also modelled for Manet, notably featuring in his 1869 painting 'Le Balcon' [Musée d'Orsay, Paris, RF 2772]. Shortly after Manet produced his first picture in pastels in 1862, Prins also began to work in the medium, and continued to do so throughout his career. Indeed, Prins is now known principally as a pastellist, with most of his prolific output today in the collection of the Musée Carnavalet in Paris. The present work is characteristic of Prins's oeuvre, with the artist's clear outlining of forms and his handling of pastel lends the work a Post-Impressionist accent. 

Alfred Wolmark, British/Polish 1877-1961 - Village in the countryside; oil on panel, signed lower right 'Wolmark', 29 x 39.5 cm (ARR) Provenance: Leighton Fine Art, Marlow; private collection, purchased from the above (by repute) Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Alfred Wolmark, British/Polish 1877-1961 - Cyclamen, 1947; oil on panel, signed with monogram and dated lower left '47', 57.5 x 41.5 cm (ARR) Provenance: The Artist's Studio; The Belgrave Gallery, London; private collection Exhibited:  The Belgrave Gallery, London,  'Alfred Wolmark', 7th-29th November 1985, cat. no. 35 Note: Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Cecily Brown, "based on a true story", 2 handsignierte Ausstellungsplakate von 2010Cecily Brown, *1969 London, "based on a true stroy", 2 Ausstellungsplakate Kestnergesellschaft 2010, 84 x 59,5 cm, handsigniertZur Künstlerin: 1993 schloss sie mit dem Bachelor of Arts an der Londoner Slade School of Art ihr Kunststudium ab und zog im folgenden Jahr nach New York. Ende der 1990er Jahre erregten ihre großformatigen, expressiven Bilder mit erotischen Szenen Aufsehen. „Ich benutze erotische Fotografien, um den Körper zu studieren. Dabei interessiert mich der emotionale Gehalt dieser Vorlagen“, so beschreibt Cecily Brown ihre malerische Vorgehensweise. In ihren an der Grenze zwischen Abstraktion und Figuration liegenden Bildern werden organische Formen und Menschen angedeutet und gelegentlich nur durchleuchtendes Rosa, Rot, Orange und Ocker wiedergegeben. Browns Werk ist unter anderem beeinflusst von Nicolas Poussin, Édouard Manet, William Hogarth sowie Francis Bacon und Willem de Kooning.

Twelve good art books. Including Frida Kahlo, Ben Nicholson, Manet, Matisse, Monet, Van Gogh, Picasso, &c. &c, all in very good condition. (12)

ATTRIBUTED TO EDMA MORISOT-PONTILLON (FRENCH 1839-1921) TWO FIGURES IN A RIVER LANDSCAPE Pastel on paper laid down to canvas 38 x 46cm (14¾ x 18 in.)Provenance: The Rouart Collection, Paris Rosalind de Boland Roberts, editor of Growing Up with the Impressionists: The Diary of Julie Manet (1987) (a gift from the family of the above) Thence by descent to the present ownerAn inscription on the reverse of the painting suggests that the present work is after Jean-Baptiste-Camille Corot. The work itself is very reminscent of Corot's work and it would not be surprising given that both Edma and her younger sister, Berthe Morisot were both taught by Corot. The sisters grew up in a bourgeois family just outside Paris and were artistically minded from a young age, encouraged by their mother. Having first studied under Joseph Guichard, a former student of Ingres, in 1860, they began lessons with Corot who introduced them to the art of painting en plein air. Edma in particular was strongly influenced by the Barbizon school of painting and this particular work exhibits many of the attributes associated with the movement. Unusually, the work is executed in pastel. Edma worked predominately in oils although she is noted later in life, as having produced pastel copies of Berthe's work.Edma's artistic output was curtailed by her decision to concentrate on family life after her marriage in 1869 to a naval officer, Adolphe Pontillon. The close relationship with Berthe, which had seen them traverse France painting side by side, each acting as the other's chaperone, was forever changed. The sisters corresponded throughout their lives and Edma occasionally modelled for Berthe, creating some of her most enduring images, including The Cradle, dating from 1872 and depicting Edma with her second child. Condition Report: Some light discolouration and surface dirt to the sheet. The pastel is wearing q little thin in some places. Overall the work appears to be in good condition commensurate with age. Condition Report Disclaimer

KVAPIL, Charles zugeschrieben (1884 Antwerpen - 1957) Kubistischer liegender AktÖl/Leinwand. Unsigniert. 27 x 41 cm. Gerahmt : 50,5 x 64 cm. Liegende junge Frau im hellen Licht mit modischer Kurzhaarfrisur. Eine restaurierte Stelle mit Hinterklebung. Wenn Ch. Kvapil, dann: Belgischer Maler, tätig in Paris, beeinflusst von Courbet und Manet. Literatur : Vollmer. Aufrufzeit 24. | Feb 2024 | voraussichtlich 14:26 Uhr (CET) KVAPIL, attributed to Charles (1884 Antwerp - 1957) Cubist reclining nudeOil/canvas. Unsigned. 27 x 41 cm. Framed : 50.5 x 64 cm. Reclining young woman in bright light with a fashionable short hairstyle. A restored area with backing. If Ch. Kvapil, then: Belgian painter, active in Paris, influenced by Courbet and Manet. Literature : Vollmer. Aufrufzeit 24. | Feb 2024 | probably 14:26 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Duret,T.: Edouard Manet. Sein Leben und seine Kunst. Bln., Cassirer 1910. 4°. Mit 2 Orig.-Rad. und zahlr. Abb. 319 S., 1 Bl. Olwd. (Lichtrandig, kl. Läs.). Guerin 301: Profilbildnis Baudelaires mit Hut; Guerin 59: Berthe Morisot; zum Olympia-Holzschnitt vgl. Guerin 87 (vorl. Zustand n. vermerkt). - Wichtige Monographie mit Oeuvre-Katalog. - Farbholzschnitt "Olympia" nach Manet (Guerin 87) fehlt. - Innen gut.

Certainly! Edgar Degas (1834–1917) was a French artist famous for his contributions to Impressionism, particularly in the field of painting and sculpture. Here are key points about Edgar Degas:1. **Early Life:** Hilaire-Germain-Edgar De Gas, known as Edgar Degas, was born on July 19, 1834, in Paris, France, into a prosperous family with connections to the banking industry.2. **Artistic Education:** Degas initially studied law but decided to pursue art and enrolled at the École des Beaux-Arts in Paris. He studied under the academic painter Louis Lamothe and became friends with fellow artists like Édouard Manet.3. **Impressionism:** Degas is often associated with the Impressionist movement, although he preferred to be considered an independent realist. He exhibited in several of the Impressionist exhibitions, sharing common interests with artists like Claude Monet and Pierre-Auguste Renoir.4. **Subject Matter:** Degas is best known for his depictions of ballet dancers, horse racing, and Parisian scenes. He captured moments of modern urban life, often focusing on movement, light, and the human figure.5. **Ballet Dancers:** One of Degas's most iconic subjects is ballet dancers. He created numerous paintings, drawings, and sculptures depicting dancers in various poses and stages of rehearsal.6. **Innovative Compositions:** Degas was innovative in his compositions, using unusual angles and perspectives. He frequently cropped his compositions to focus on specific details, creating a sense of immediacy.7. **Media:** Degas worked in various media, including oil painting, pastel, sculpture, and printmaking. His use of pastels was particularly notable, and he created vibrant and dynamic pastel drawings.8. **Sculpture:** Degas was a skilled sculptor and created several sculptures, often focusing on the human form. His sculptures of dancers and horses are celebrated for their naturalistic and dynamic qualities.9. **Interest in Photography:** Degas had an interest in photography, and some of his works show the influence of photographic framing and composition.10. **Private and Reserved Personality:** Degas was known for his private and reserved personality. He was critical of his own work and often kept his paintings and drawings out of the public eye.11. **Later Years:** In his later years, Degas experienced vision problems, likely due to retinal disease. Despite his declining eyesight, he continued to work, often relying on sculpture and pastels.12. **Death and Legacy:** Edgar Degas died on September 27, 1917, in Paris, at the age of 83. His legacy as a revolutionary artist and innovator in the depiction of modern life continues to be celebrated. The Musée d'Orsay in Paris houses a significant collection of his works.Edgar Degas's impact on the art world, particularly in his exploration of modern life and the innovative use of composition, continues to be recognized and appreciated. His work has left an indelible mark on the history of art.Measures 7 x 3.5. 2.75.Bonded bronze.

Edgar Degas (1834–1917) was a French artist famous for his contributions to Impressionism, particularly in the field of painting and sculpture. Here are key points about Edgar Degas:1. **Early Life:** Hilaire-Germain-Edgar De Gas, known as Edgar Degas, was born on July 19, 1834, in Paris, France, into a prosperous family with connections to the banking industry.2. **Artistic Education:** Degas initially studied law but decided to pursue art and enrolled at the École des Beaux-Arts in Paris. He studied under the academic painter Louis Lamothe and became friends with fellow artists like Édouard Manet.3. **Impressionism:** Degas is often associated with the Impressionist movement, although he preferred to be considered an independent realist. He exhibited in several of the Impressionist exhibitions, sharing common interests with artists like Claude Monet and Pierre-Auguste Renoir.4. **Subject Matter:** Degas is best known for his depictions of ballet dancers, horse racing, and Parisian scenes. He captured moments of modern urban life, often focusing on movement, light, and the human figure.5. **Ballet Dancers:** One of Degas's most iconic subjects is ballet dancers. He created numerous paintings, drawings, and sculptures depicting dancers in various poses and stages of rehearsal.6. **Innovative Compositions:** Degas was innovative in his compositions, using unusual angles and perspectives. He frequently cropped his compositions to focus on specific details, creating a sense of immediacy.7. **Media:** Degas worked in various media, including oil painting, pastel, sculpture, and printmaking. His use of pastels was particularly notable, and he created vibrant and dynamic pastel drawings.8. **Sculpture:** Degas was a skilled sculptor and created several sculptures, often focusing on the human form. His sculptures of dancers and horses are celebrated for their naturalistic and dynamic qualities.9. **Interest in Photography:** Degas had an interest in photography, and some of his works show the influence of photographic framing and composition.10. **Private and Reserved Personality:** Degas was known for his private and reserved personality. He was critical of his own work and often kept his paintings and drawings out of the public eye.11. **Later Years:** In his later years, Degas experienced vision problems, likely due to retinal disease. Despite his declining eyesight, he continued to work, often relying on sculpture and pastels.12. **Death and Legacy:** Edgar Degas died on September 27, 1917, in Paris, at the age of 83. His legacy as a revolutionary artist and innovator in the depiction of modern life continues to be celebrated. The Musée d'Orsay in Paris houses a significant collection of his works.Edgar Degas's impact on the art world, particularly in his exploration of modern life and the innovative use of composition, continues to be recognized and appreciated. His work has left an indelible mark on the history of art.Measures 156 x 99.Composed of six panels.

A collection set of approximately 65 volumes of art reference books, each in cardboard sleeves, pub. Albert Skira, 1950’s, including Renoir, Rembrandt, Van Gogh, Cézanne, Degas, Chagall, Monet, Dürer, Manet, Goya. (2 boxes)

Manet by Himself Edited by Juliet Wilson-Bareau 1995 First UK Edition Softback Book published by Little, Brown and Co (UK), good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

From Manet to Toulouse Lautrec - French Lithographs 1860 - 1900 by Frances Carey & Antony Griffiths 1978 Reprinted Edition Softback Book published by British Museum Publications Ltd, signs of ageing fading / marks to outer cover, good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

EDOUARD MANET (1832-1883) Charles Baudelaire in profile wearing a hat, etching, signed with monogram, inscribed & dated 1862 within the plate, 11cm x 9cm (image), framed & glazed (33.2cm x 26.8cm overall) Provenance: Folio Fine Art Ltd, London.

Manet, Édouard - - Sonnets et eaux fortes. Mit 42 Radierungen von 42 Künstlern. Paris, Alphonse Lemerre, 1868. 3 Bll., 42 Tafeln je mit begleitendem Textbl., 2 Bll. Folio. Etwas spätere Lwd. mit goldgepr. RSchild, Original-Umschlag eingebunden. Eines von 350 Exemplaren, die Druckplatten nach Abschluss der Edition zerstört. - Brivois 375. Carteret III, 564. Vicaire VII, 579-581. - Auf dem vorderen fliegenden Vorsatz mit einem heraldischen, handgemalten Exlibris des schottischen MacAuley Clans und den Initialen "DJM" sowie goldgepr. Initialen auf dem Rücken. - Eines der wichtigsten illustrierten Werken des 19. Jahrhunderts und zugleich eines der ersten "livre d'artiste". Für die Auswahl der Künstler und Schriftsteller war der Kritiker Philippe Burty verantwortlich. - Die schönen Tafeln zeigen Radierungen u.a. von Gustave Doré, Jean-Léon Gérôme, Seymour Haden, Johann Jongkind, Charles-François Daubigny, Maxime Lalanne, Félix Bracquemond, Jean-Baptiste Camille Corot, Édouard Manet und eine Zeichnung von Victor Hugo. - Teils etwas braunfleckig und mit etwas Abklatsch der Graphiken. Insgesamt sehr gutes, breitrandiges Exemplar des seltenen Werks. With 42 etchings by 42 artists. Somewhat later cloth with gilt spine label, original wrappers bound in. - One of 350 copies, the printing plates were destroyed after completion of the edition. - With a heraldic, hand-painted ex-libris of the Scottish MacAuley clan and the initials "DJM" on the front flyleaf and gilt initials on the spine. - One of the most important illustrated works of the 19th century and also one of the first "livre d'artiste". The critic Philippe Burty was responsible for the selection of artists and poets. - The beautiful plates show etchings by the above mentioned among others. - Partly somewhat brownspotted and with some offsetting of the prints. Overall a very good, wide-margined copy of this rare work.

A vintage 20th century 1970s Musée Marmottan  impressionists exhibition poster. The exhibition including artists such as Renoir, Millet, Daumier, Manet, Pissarro, Monet, Cezanne and Bonnard. The poster featuring an impressionist landscape painting. Measures approx. 60cm x 40cm.

Art volumes to include Goya, Manet, Vermeer, Rubens & Fragonard etc plus volumes on French architecture

Auguste Renoir - Auguste Renoir - 1894 / Description: Le Chapeau Épinglé (La fille de Berthe Morisot et sa cousine). Two girls fixing the other's hat with a hairpin; third version. 1894 Etching, with some surface tone. Renoir, Pierre-Auguste (French, 1841-1919), Le Chapeau Epingle, 1894, drypoint etching on laid paper, signed in the plate lower left corner. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. / Dimensions: 11,80 x 8,10 cm / Condition: Very good condition. Good impression on a full sheet of laid paper with wide margins / Literature: Delteil / Le Peintre-Graveur Illustré (XIXe et XXe siècles) (8.II) --- First treated by Renoir as a painting 'Chapeaux d'été' (1892). There are three etched versions as well as a lithograph of the composition. / Medium: Etching /Circa: 1894 320

Mallarme,S.: L'Apres-Midi d'un Faune. Eglogue. Nouvelle ed. Paris, Vanier 1887. Gr.8°. Mit 4 Holzschn. (davon 1 ganzs.) v. Manet. 16 S. Lose, unaufgeschn. Bogen in OU. (Randrissig u. gebräunt). Vicaire V, 474. Carteret II, 95. - Erste von Manet illustr. Ausgabe ("frontispice, ex-libris, fleurons & cul-de-lampe"). - Insgesamt gutes Ex. dieser fragilen Publikation.

◆ GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PEONIES IN A BLUE AND WHITE VASE Signed, oil on canvas Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: The Fine Art Society Plc, London, Edinburgh and Glasgow, October 1987 (11383) Note: Having lost most of his early work in the San Francisco earthquake of 1906, Hunter moved to Glasgow later that year and developed a distinct approach to still life painting that encompassed art history, a sophisticated use of colour and light and a sense of serenity, all of which can be seen in Peonies in a Blue and White Vase.Hunter soon became ensconced in Glasgow’s art world, including eventual election to Glasgow Art Club. His first solo exhibition in the city, held at Alexander Reid’s La Société des Beaux-Arts gallery in 1913 proved to be a professional breakthrough, with subsequent shows mounted there attracting not only positive press coverage but also sales. As the critic of The Bailie remarked in a review of his 1916 exhibition: ‘He has three or four examples of still life that are superlatively strong. Such work is bound to live, for they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen.‘ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937 p. 76).The subject matter and composition of Peonies in a Blue and White Vase, with the titular flowers set in contrast to a plain background, reveal Hunter’s interest in the Dutch Old Masters that he encountered during extensive visits to the cultural centres of Edinburgh, London and Paris, as well as in the public galleries of Glasgow. His rich technique, working ‘wet on wet’, layering up colours and tones to create form and suggest the play of light on petals and glaze recalls the work of Edouard Manet, whom he is known to have admired. Sophistication is the order of the day, in the asymmetrical arrangement of the flowers and the delicate placing of a single bloom in the foreground, in an image infused with tranquillity. It was with such still lifes that Hunter came to the fore before and during World War One and which were to provide the foundation of his reputation as one of Scotland’s leading artists of the twentieth century.

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

Jacques-Émile Blanche, 1861 Paris – 1942 OffranvilleBILDNIS BÉRÉNICEÖl auf Leinwand.38 x 46 cm.Verso alte gedruckte Katalog-Aufkleber.Rahmen mit Künstler-Namenschild und Titelbezeichnung .Der Sohn eines bedeutenden Pariser Neurologen, der sich der Malerei zuwandte, wuchs in einem Elternhaus auf, in dem bedeutende Persönlichkeiten der Zeit verkehrten, wie unter anderem Éduard Manet, Edgar Degas oder Fantin-Latour. Sein Englischlehrer war der Literat Stéphane Mallarmé, der Philosoph Henri Bergson sein Klassenkamerad. Zeichenunterricht erhielt er von dem bekannten Maler Henri Gervex. Auch in den 1880er Jahren, als er nach London ging, verkehrte er im Kreis bekannter Künstler wie Beardsley, Whistler oder Oscar Wilde. In Frankreich gab es kaum einen der Bedeutenden, mit dem er nicht befreundet gewesen wäre. 1892 schuf er als Porträtist von Rang den Dichter Marcel Proust, aber auch Igor Strawinski, André Gide (1912), Cocteau oder Mary Cassatt. Ab 1930 Mitglied der Académie royale des Sciences, des Lettres et des Beaux-Arts de Belguque, wurde er 1935 in die Académie des Beaux-Arts Paris. gewält. Das Bildnis der jungen Frau, die sich vor einem Spiegel das Haar richtet, und das den Einfluss von Fantin-Latour verrät, dürfte daher wohl im Kreis dieser namhaften Gesellschaft entstanden sein. Die genaue Zuordnung ist noch nicht erfolgt. A.R. (1381274) (1) (11))

(1) Tine Baanders heeft haar atelier en woning verplaatst naar Zuideramstellaan 127 Amsterdam Telefoon 93055. Letterpress card, 12 x 15.5 cm, striking typography by Baanders. (2) Gedenkboek gemeente telefoon Amsterdam 1896-1936. Uitgegeven ter gelegenheid van haar 40 jarig bestaan op den eersten november negentien honders en zes en dertig. N.pl., n.d. (Amst., 1936), XII,240 p., num. ills., title-p. and orig. gilt cl. des. by Baanders. (3) N.V. Eisenloeffel's Kunsthandel, Amsterdam. Catalogue d'eaux-fortes et de lithographies. Troisième partie de la collection. Amst., Naaml. Vennootschap Drukkerij voorheen Dieperink & Co, n.d., (28) p., w. ills., orig. stapled lithogr. wr. by Baanders. Rare catalogue, listing prints by M. Bauer, F. Brangwyn, H. Daumier, E. Degas, E. Delacroix, P. Gauguin, W. Hogarth, J.B. Jongkind, E. Manet, P. Picasso, a.o. (4) Amsterdamsche tentoonstelling voor woninginrichting in het Stedelijk Museum van 20 mei tot 1 Juli 1921. Amst., Stadsdrukkerij, 1921, VIII,(2), 54 p., w. ills. and advertisements, orig. lithogr. wr. by Baanders. -and 3 others, incl. 2 issues of De vrouw en haar huis. (total 7)

(1) Souvenir de L'Exposition de Paris. 5. serie. 8 col. erotic lithogr. 15.5 x 11.5 cm. (2) Souvenir de l'Exposition de Paris. Mademoiselle Lucie*, Paris 1879. 8 col. erotic lithogr. 15.5 x 11.5 cm. Bound with: De Kock. La Donna Terribile. Romanzo Storico galante. Volume Unico. Roma 1875. 128 p. Incl. 2 in-text lithogr. and a mounted plate on first free endpaper. Later early 20th cent. cardboard binding, bookblock reinforced w. some tape. *Mademoiselle Lucie was Émilie-Louise Delabigne, or countess Valtesse de La Bigne (Paris, 1848-1910), a French courtisane and demimondaine. She went from being a poor street prostitute to becoming one of the most elite and well-known courtesans in Paris and a muse of artists such as Édouard Manet and writers such as Octave Mirbeau. (total 3)

Very rare executioner's sword, sword of justice, Germany 1687. Massive steel blade with one fuller on each side. Engraving on the blade, on one side the inscription "IVSTITIA MANET IN AETERNVM 1687", on the other side "FIAT IVSTITIA AVT PEREAT MVNDVS", floral ornament and execution instruments. The Ephesus is of very high quality, made of gilded bronze with exquisite decoration. The handle is made of wood wrapped with silver wire and a velvet overlay. A superb museum quality item. A similar sword is in the Louvre Museum, Department of Objects of Art from the Middle Ages, Renaissance and Modern Times, Inventory number: P 283 306Height: 107 cm;

WEMPE BY KIM Anhänger "Cosmos" aus weißem Onyx mit Gravur "Tempus Fugit Amor Manet", Öse GG 18K, 7,6 gr, Länge ca. 3 cm, KP: 250 € (2011), leichte Tragespuren, inkl. Kopie Kaufbeleg u. Garantiekarte.| WEMPE BY KIM pendant "Cosmos" made of white onyx with engraving "Tempus Fugit Amor Manet", loop 18K YG, 7.6 gr, L: ca. 3 cm, PP: 250 € (2011), minor signs of wear, incl. copy of sales receipt and warranty card.

Édouard Manet (1832 – Paris – 1883). „Olympia (Published plate)“. 1867Radierung und Aquatinta auf Bütten. 8,8 × 17,8 cm (22,8 × 30,8 cm) (3 ½ × 7 in. (9 × 12 ⅛ in.)). Unten rechts mit Bleistift signiert und bezeichnet: É. Manet Bon à tirer p[our] 600 Poupart-Davyl 30 r.[ue] du Bac. Rückseitig mit dem Sammlerstempel Lugt 4205.Harris 53, 6. Zustand.–Signierter Probeabzug des 6. Zustands vor der Auflage in: Émile Zola: Éd. Manet. Étude biographique et critique. Paris, E. Dentu, 1867. Sorgfältig restaurierter Einriss. [3042] Provenienz: Eric Franck, London (1978) / Privatsammlung, Hessen (1978 bei Sotheby’s London erworben)Wir berechnen auf den Hammerpreis 27% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.

New Jersey: Chartwell Books, 1973. A 317-page large coffee table art book consisting over 320 prints from notable impressionist artist such as Edgar Degas, Edouard Manet, Paul Gauguin, and more. ISBN: 399110399. Artist: RealitesIssued: 1973Dimensions: 11"W x 12.5"H x 1.5"DManufacturer: Chartwell Books, Inc.Country of Origin: United States

The 'Worshipful Company of Stationers' silver-gilt and enamel table centrepieceWilliam Hutton & Sons, Sheffield 1924Depicting the polychrome enamelled coat of arms of the 'Worshipful Company of Stationers', flanked by two classical angel supporters blowing their trumpets triumphantly, both standing on a pierced scrolling foliate back-plate, the Company's motto enamelled in Latin beneath, two scroll panels reading 'VERBUM DOMINI MANET, the third panel 'IN AETERNUM' is missing, all raised on an elaborate knopped baluster stem, terminating in a spread domed oval base embossed in high and low relief with angels, scrolls and acanthus leaves, inscribed 'The Gift of Herbert Fitch Master 1922/23', height 60cm, width 34cm, weight total 188oz.Footnotes:ProvenanceCommissioned by Herbert Fitch in 1924 and presented to the 'Worshipful Company of Stationers', to commemorate his time as Master of the 'Stationers' Company' from 1922 to 1923. For use at members banquets and prestigious occasions, hosted within the historic 'Stationers' Hall', Ave Maria Lane, in the City of London. It would either be placed in front of the Master on the top table, or clearly exhibited during ceremonial occasions and Court meetings.Henceforth held at 'Stationers' Hall' since 1924, up until the present day.Introduction to the 'Stationers' Company'The 'Worshipful Company of Stationers' and Newspaper Makers', also known as the 'Stationers' Company', has represented publishing and communications professionals since 1403. Originally formed to represent members of a manuscript-based book trade, the 'Stationers' Company' rose to prominence with Caxton's introduction of the printing press to England in 1476. As the subversive potential of this new technology was recognised, successive English governments during the turbulent sixteenth and seventeenth centuries enlisted the Stationers' help in regulating the press, making the Company a dominant force in the publishing landscape for some time to come. The Stationers' embraced their position, fully participating in the pomp and pageantry of the City of London. Rebuilt in the 1670s on its original foundations after the Fire of London ravished its medieval structure, 'Stationers' Hall' is a testament to the Company's rich social and cultural life over the centuries. Today the headquarters of a vibrant professional membership organisation, in the Hall's fabric, fittings and fixtures are inscribed the history of a London Livery Company where tradition and innovation have always gone hand in hand. Lot ResearchThis is the present full armorial of the 'Worshipful Company of Stationers' and Newspaper Makers'. Created in 1403 as the 'Worshipful Company of Stationers', this has been their official title since the incorporation of the Newspaper Makers in 1937. The arms were granted in 1557 to the then 'Worshipful Company of Stationers' but without crest and supporters, which should only officially appear after 1951. However the Company did unofficially adopt a crest and supporters from the eighteenth century and crests have been found to appear from 1789, and supporters from 1834. These are useful dating attributes. The Stationers' Company's motto is 'Verbum Domini Manet in Aeternum', Latin for 'The Word of the Lord endures forever'.In terms of the provenance of this piece on offer, Court Orders for 1st December 1925 note: 'Mr Herbert Fitch (Master 1922/23) ... said that when he was Upper Warden the Court on the 4th day of April 1922 resolved on his proposition 'that it is desirable that a Standard Emblem or Device be adopted.'' Consequently, he decided to 'provide and present to the Company a piece of plate embodying the approved design in a permanent and artistic form.' 'The work of art which he asked the Court to accept was of silver gilt and consisted of a pillar and base carrying the Arms and Crest of the Company (which were shown in enamels of correct Heraldic colours) flanked on either side by the angels which had been the supporters for over 100 years.''That the Court of Assistants do offer to Mr Herbert Fitch their most cordial thanks for his unique and valuable gift.'Herbert Fitch (1849-1933) established a respected printing business on Bury Street, in the City of London. In 1922 he received the honour of being elected as Master of the 'Stationers' Company', and was also an esteemed member of Lloyds. After a full life, he passed away at the age of 84 and was duly buried at Brompton Cemetery. As a wealthy business owner, his life was commemorated with a Grade 2 listed tomb made of Portland Stone and green marble columns. Over time, his wife Jeannie and their three sons were laid to rest with him. His son, also named Herbert, was a member of Special Branch Police and his memoirs detail how he listened to a secret meeting by Lenin and his comrades, whilst hiding in a pub cupboard.Literature'Stationers' Hall' Court records, accessed via the Stationers' Company archivist.Friends of Brompton Cemetery,'Tomb of Herbert Fitch', accessed 26/10/23 via https://brompton-cemetary.org.ukFor further information on this lot please visit Bonhams.com

MANET EDOUARD: (1832-1883) French modernist painter. A good A.N.S., Ed. Manet, to the recto of his personal printed large oblong 12mo Visiting Card, with his printed name to the centre and address at 77 Rue d’Amsterdam at the base, n.p. (Paris?), 26th December 1879, in French. Manet writes, in full, ‘Bon pour un portrait au pastel’ (Translation: ‘Good for a pastel portrait’). Some very light, minor staining and age wear, otherwise VG

PICASSO, PABLO1881 Malaga - 1973 MouginsTitel: Petit Déjeuner sur l'Herbe (D'Après Manet). Datierung: 1962. Technik: Farblinolschnitt auf Arches (Wasserzeichen). Darstellungsmaß: 35 x 27cm. Blattmaß: 61,5 x 44cm. Bezeichnung: Signiert und nummeriert. Herausgeber: Edition Galerie Louise Leiris, Paris (Hrsg.). Exemplar: 24/50. Rahmen/Sockel: Rahmen. Provenienz:- Privatsammlung HessenLiteratur: - Baer, Brigitte/Geiser, Bernhard: Picasso - Peintre-Graveur, Tome V, Catalogue raisonné de l'oeuvre gravé et des monotypes, 1959-1965, Bern 1989, WVZ.-Nr. 1328 (IIIe état, B), Abb. 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

CORINTH, LOVIS1858 Tapiau/Ostpreußen - 1925 ZandvoortTitel: Stillleben Metall. Datierung: 1910. Technik: Öl auf Leinwand. Maße: 77 x 50cm. Bezeichnung: Signiert und datiert rechts mittig: LOVIS CORINTH 1910. Rahmen/Sockel: Modellrahmen. Provenienz:- Dr. Pater, Königsberg- Stadträtin Lemmel, Königsberg- Dr. A. Sonnenburg, Berlin- Gemälde-Galerie C. Nicolai, Berlin (Aufkleberfragment)- Galerie Franz Brutscher, München- Galerie Aenne Abels, Köln (Aufkleberfragment)- Privatsammlung Ausstellungen:- Kunstsammlung Stadt Königsberg, 1924- Galerie Aenne Abels, Köln 1956 Literatur: - Berend-Corinth, Charlotte: Lovis Corinth - Die Gemälde, Werkverzeichnis, neu bearbeitet von Béatrice Hernad, München 1992 (2. Aufl.), WVZ.-Nr. 440, Abb.Drei Metall-Gegenstände hat Lovis Corinth hier auf einem Tisch arrangiert. Sie geben dem Stillleben den Namen. Eine Messingkanne, ein glänzend aufpolierter Zinntopf mit Deckel und eine bronzene Figur bilden den Dreiklang, mit dem der Maler sich selbst herausforderte und mit dem er seine virtuosen Fähigkeiten unter Beweis stellte. Ergänzt werden diese Drei durch die ebenfalls harte, durch den Prismenschliff aber ganz anders das Licht reflektierende, blaue Bleikristall-Vase mit zwei üppigen, hellrosa-farbenen, großblütigen Chrysanthemen. Eine ockergelbe Wand schließt den Innenraum, in dem sich dieses Arrangement befindet, in der Tiefe ab. Andere Elemente im Hintergrund sind nur vage angedeutet. Ihre Farbwerte sind für die Komposition wichtig, sie lenken aber nicht von der Konzentration auf den Vordergrund ab.Die Lichtquelle, die das Arrangement in ein warmes Licht taucht, liegt schräg rechts, außerhalb des Bildraums. Mit kühnen Pinselstrichen modelliert Corinth die glänzenden Gefäße. Die Farben Rot, Braun, Gelb und Weiß, pastos und additiv aufgetragen, ergeben das brillante Messing, in dem sich die bronzene Figur spiegelt. Das kühle Blau, Schwarz, Weiß und graue Mischtöne nutzt er für das Zinngefäß, wobei sich auch hier Reflektionen der rotbraunen Tischplatte in der Wandung spiegeln. Ganz anders gibt Corinth die optische und haptische Beschaffenheit der Bronze wider. Es gibt hellere Partien, mit mehr Grün-Anteil, sparsam mit Weiß und Gelb gehöht und dunklere, schwärzliche Bereiche, die dem Licht abgewandt sind. Ein starker Schattenwurf auf dem Sockel markiert den Lichteinfall deutlich. Die obere Bildhälfte dominieren die beiden fedrigen Blütenköpfe, die wie ein Feuerwerk das Licht bündeln.Die wie zufällig auf dem Tisch versammelten Objekte haben als Gesamtkomposition eine ungemein starke Präsenz. Sie berühren jeweils fast die Grenzen des Bildraums; ganz nah hat der Künstler den Bildausschnitt gewählt, ein minimaler Farbraum trennt die Objekte von der Realität außerhalb des Bildes.Dieses eindrucksvolle Stillleben malte Lovis Corinth 1910, auf dem Zenit seines Ruhms. Der Sohn eines gutbürgerlichen Gerberei- und Landwirtschafts-Unternehmers aus der Ostpreußischen Provinz hatte in Königsberg, München, Antwerpen und Paris die bestmögliche künstlerische Ausbildung genossen. Nach einer ersten Phase in Berlin, Ende der 1880er Jahre, ließ Corinth sich zunächst in München nieder. Dort geriet er jedoch mehr und mehr in die Flügelkämpfe des Kunstbetriebes. Und Berlin zog ihn an. Dort zeigte er seit Anfang der 1890er Jahre erfolgreiche Ausstellungen in den Galerien Fritz Gurlitts und Eduard Schultes. Sein Freund Walter Leistikow vermittelten ihm einträgliche Portrait-Aufträge der Berliner Gesellschaft und 1901 übersiedelte Corinth endgültig in die Reichshauptstadt. Im selben Jahr stellte er in der Galerie Paul Cassirers aus und wurde Mitglied der Berliner Sezession, bald schon deren Vorstandsmitglied. Die Zusammenarbeit mit Paul Cassirer gestaltete sich besonders erfolgreich. Zum einen vermittelte der Galerist und Verleger Ausstellungen Corinths in andere deutsche Städte, zum anderen verkaufte er fertige Bilder des gefeierten Meisters direkt aus dem Atelier. In Paul Cassirers Galerie begegnete Corinth aber auch den Arbeiten von Cezanne und Manet, die ihn begeisterten. In seiner Pariser Zeit waren die modernen impressionistischen Strömungen von dem jungen Kunststudenten noch nicht wahrgenommen worden.Heute wird Lovis Corinths Kunst gerne mit dem Etikett des Spät-Impressionismus versehen. Tatsächlich sah er selbst seine Wurzeln als kraftvoll die Form auflösender Kolorist aber eher in seiner Auseinandersetzung mit den "Alten Meistern" des 17. Jahrhunderts, mit Rubens, Rembrandt und vor allem Frans Hals: "Der Frans Hals hat genauso gemalt, der Kerl, wie ich. Ich brauche mich gar nicht zu verstellen" schrieb er 1907 an seine Frau. (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: (in: Brief Lovis Corinth an Charlotte Berend-Corinth, 7.9.1907, zitiert nach: Ausst.-Kat. Lovis Corinth und die Moderne, Musée d'Orsay, Paris/Museum der bildenden Künste, Leipzig/Kunstforum Ostdeutsche Galerie, Regensburg, Bielefeld 2008, S. 35).)Ein großer Unterschied zu den Impressionisten ist allerdings, dass Lovis Corinth immer auch Historienmaler war. Mythologische, antike oder christliche Geschichten setzte er nicht überhöht, sondern naturalistisch mit seinem flirrend kraftvollen Pinselduktus in Szene. Dabei waren die Gestalten von Bacchus und seinem Gefolge für Corinth ein immer wieder bearbeitetes Thema. Im Gott des Weines und des Rauschs sah Corinth wohl auch sein "alter Ego"; mehrfach hat er sich selbst als Bacchus portraitiert.Die bacchantische Seite Corinths, des unangepassten Normensprengers, findet sich auch in diesem Gemälde. Denn bei der Statuette handelt es sich um die Bronze-Replik eines antiken, ein Öllicht tragenden Silens, der in Pompeji gefunden wurde (Foto). In mindestens zwei weiteren Stillleben hat Lovis Corinth diese Leuchter-Figur verwendet, die für ihn vermutlich eine spezielle Bedeutung hatte. Dieses Stillleben mit seinem teils eruptiven Pinselduktus ist ein deutlicher Beleg für die Bedeutung, die Lovis Corinth für die moderne gegenständliche Malerei in Deutschland hat. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog

Alfred Wolmark,  British/Polish 1877-1961 - Still life with flowers;  oil on canvas, signed with monogram lower left, 54 x 65.2 cm (ARR)  Provenance:  Galerie Bonaparte, Menton (according to the stamp on the reverse of the stretcher);  private collection, purchased from the above  Note:  Wolmark was famed for his bold colour palette, influenced by French Modernism, and in an early exhibition in the 1910s at the International Society of Artists, his work was placed beside Vincent Van Gogh, as the only artist of comparable intensity. Wolmark exhibited at the influential 'Manet and the Post-Impressionists' exhibition at the Grafton Gallery in 1910, organised by Roger Fry. 

Theodore Duret Histoire d'Édouard Manet et de son oeuvre. Paris, H. Floury 1902. Erste Ausgabe der wichtigen Monographie zu Edouard Manet, in der seltenen Vorzugsausgabe von 50 numerierten Exemplaren auf Japanpapier. Das bedeutende Werkverzeichnis der Gemälde und Pastelle mit 2 1860 und 1866 entstandenen Original-Radierungen in 2 Zuständen in Braun und Schwarz: Le Gamin au chien (Guérin 27) und Olympia (Guérin 39). EINBAND: Illustrierte Orig.-Broschur in moderner Halbleinen-Kassette. 27 : 21 cm. - ILLUSTRATION: Mit 2 Orig.-Radierungen in 2 Zuständen, 22 Tafeln auf verschiedenen Papieren (davon 14 in 2 Zuständen) sowie zahlreichen Abbildungen. - ZUSTAND: Auf Anfrage. - LITERATUR: Guerin 27 und 39. - Rosenthal S. 171. - Mahé I, 810. - First edition of the important monograph on Edouard Manet, in the rare deluxe edition on Japanese paper. With 2 orig. etchings in 2 states, 22 plates on varying paper (14 of them in 2 states) and numerous illustrations. Illustrated orig. wrappers in modern half cloth case. 27 : 21 cm. - Occasionally foxed (mostly only affecting the plates on wove paper), the front inner hinge is slightly torn, therefore a few leaves loosened. Binding slightly browned and spine with creases. Uncut copy in the rare original cover. Dieses Objekt wird regelbesteuert angeboten (R).

Histoire d'Edouard Manet et de son oeuvre. Paris, Floury, 1902. Mit 21, teilw. farbigen Bildtafeln. Zwei Originalradierungen von Manet (Gamin au Chien, L'Olympia). Eines von 600 Expl. (Etwas vergilbt, sonst guter Zustand). Mit dem Werkverzeichnis der Gemälde u. Pastelle. Halblederband mit vergold. Rückenbeschriftung. 26 x 19 cm.

Norbert Goeneutte,  French 1854-1894- A seated man, wearing a red hat and white apron, holding a pitcher and glass; oil on panel, signed 'Norbert Goeneutte' (lower left), 22.1 x 16 cm. Provenance:  with Gimpel Fils, London, since 1950s (purchased from 'Hellebrank'). Note:  We are grateful to Christophe Duvivier for confirming the authenticity of the present lot.  Goeneutte's success was consistent throughout his short life and his work took him beyond Paris to London, Venice and Rotterdam. His talents as a printmaker and illustrator are particularly celebrated, most notably his illustrations for 'La Terre' by Emile Zola. Born in Paris, he studied under Isidore Pils (1815-1875) at the École des Beaux-Arts in the early 1870s. Following Pils's death in 1875, and the appointment of an unpopular teacher Henri Lehmann (1814-1884), Êdouard Manet (1832-1883) was asked to take over. Manet declined - although in time Goeneutte clearly came to be influenced by his work - and Goeneutte left to set up his own studio. 

Henri-Théodore Fantin-Latour,  French 1836-1904- L'Aurore chassant la Nuit; oil on canvas, signed 'Fantin' (lower left), 66 x 81.8 cm. Provenance:  Gustave Tempelaere, Paris.  Alex Reid, Glasgow.  Trust of the late Dr William Boyd, LLd of Dundee, Sotheby's, London, 29 November 1967, lot 208.  Acquired at the above sale by Arthur Tooth & Son, London.  Anon. sale, Christie's, London, 16 November 2006, lot 11.  Private Collection, UK (by descent). Literature:  Madame Fantin-Latour, 'Catalogue de l'Oeuvre de Henri Fantin-Latour', Paris, 1911, p.224, no.2126. Note:  The authenticity of this work has been confirmed by Madame Sylvie Brame. Fantin-Latour first studied with his father, the artist Théodore Fantin-Latour (1805-1872/5), before enrolling at the École des Beaux-Arts in 1854, where his classmates included Edgar Degas (1834-1917), Alphonse Legros (1837-1911) and Jean-Charles Cazin (1840-1901). Despite his own work being stylistically distinct from that of the Impressionists, Fantin-Latour was closely associated with central figures from the Impressionist movement, exhibiting with Édouard Manet (1832-1883), Pierre-Auguste Renoir (1841-1919), and Claude Monet (1840-1926).  Fantin-Latour produced a number of expressive mythological and allegorical scenes such as the present work, which depicts 'Dawn chasing away the night'. These paintings are distinguished by their loose brushwork, which imparts them with a striking sense of dreaminess befitting their subjects. Fantin-Latour treated the subject of 'L'Aurore' on multiple occasions, including in a slightly smaller composition which sold recently at Christie's, London, on 15 July 2021 (lot 15). The present work was painted in 1904. 

After Frédéric Bazille,  French 1841-1870- Young woman with peonies; oil on canvas, signed and dated 'Bruce Graham Clarke [?] apres E. Bazille. '89.' (lower left), 45.5 x 53.4 cm. Provenance:  Private Collection, UK. Note:  The present work is a copy after Bazille's painting which is housed in the collection of the Fabre Museum in Montpellier [18.1.3], whilst another, very similar, version is held by the National Gallery of Art in Washington [1983.1.6]. Bazille painted both of these paintings in the summer of 1870, just months before the outbreak of the Franco-Prussian War, in which Bazille was killed. His depiction of peonies, and the style in which he paints them, has been understood as a nod towards his close friend Édouard Manet (1832-1883), who cultivated peonies, using them for a series of still life compositions in 1864-65. 

New York: The Metropolitan Museum of Art, 1983. Manet, 1832-1883: Galeries Nationales du Grand Palais, Paris, April 22- August 8, 1983, the Metropolitan Museum of Art, New York, September 10- November 27, 1983. Paperback cover depicts Berthe Morisot from Manet's painting The Balcony. 548-pages of Manet's works displayed at the exhibition. ISBN: 0870993496 Issued: 1983Dimensions: 8.75"W x 11"H x 1.5"DManufacturer: The Metropolitan Museum of ArtCountry of Origin: United StatesCondition Good.

A large quantity of reference books on artistsComprising approximately seventy books, mainly on Impressionist and Post-Impressionist artists, including: Pablo Picasso: A Retrospective published by The Museum of Modern Art, New York, 1972; Stanislas Lépine (1835-1892). Catalogue raisonné de l'oeuvre peint by Robert Manuel Schmit, 1993; The Rijksmuseum: Vincent van Gogh,, edited by E. van Uitert and M. Hoyle; a catalogue raisonné of 820 works of Johan Barthold Jongkind by Victorine Hefting; as well as books on Renoir, Bernard, Degas, Gaugin, Manet, Sisley, Monet and van Gogh, books on artists represented in the collection including Jongkind, Van Dongen, Van Rysselberghe and Boudin, as well as twenty-two copies of the Société des amis de Jongkind (Association of the Friends of Jongkind), the books published in Dutch and English, qtyThis lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Jean Baptiste Antoine Guillemet, Der Strand von MorsalinesÖl auf Leinwand (doubliert). 85 x 135 cm.Signiert unten rechts: A. Guillemet.ProvenienzKunsthandlung Bernheimer, München/London. - Süddeutsche Privatsammlung.AusstellungenSalon de Paris, 1882. - Barbizon, Französische Malerei im 19. Jahrhundert aus einer Europäischen Privatsammlung, Kunsthandlung Bernheimer, München/London,LiteraturL´Art Francais. - Ch. Clément, in: Journal es débats, 6.6.1882. - P. Miquel, in: L´École de la Nature, Le paysage francais du XIXème siécle, 1985, Band IV, S. 312. - Konrad Bernheimer (Hrsg.): Barbizon, Französische Malerei im 19. Jahrhundert aus einer Europäischen Privatsammlung, Kunsthandlung Bernheimer, München/London, Seebruck 1993, S. 92, m. Abb.Diese imposante Ansicht von Morsalines wurde 1882 im Pariser Salon ausgestellt, jenem Jahr, in dem Antoine Guillemet auch Mitglied der Jury des Salons war (und Paul Cézanne zu einer Ausstellungsbeteiligung verhalf). Guillemet erlernte die Landschaftsmalerei bei Jean-Baptiste Corot, den er 1861 kennenlernte, zu Beginn der 1880er Jahre zählte er zu den etablierten Landschaftsmalern in Frankreich, wovon neben der Ernennung zum Jurymitglied des Salons die Aufnahme in die Ehrenlegion (1880) zeugt. Der Künstler war mit den Impressionisten und deren Fürsprechern eng befreundet, insbesondere mit Émile Zola, Claude Monet, Berthe Morisot und Édouard Manet. Letzterer verewigte Guillemet gemeinsam mit Berthe Morisot und der Geigerin Fanny Claus in seinem berühmten Gemälde Le Balcon (vgl. Abb. 1; Paris, Musée d´Orsay). Morsalines liegt in der Normandie, im Département Manche auf der Halbinsel Contentin am Ärmelkanal. Antoine Guillemet hat das kleine Fischerdorf, ebenso wie das benachbarte Saint-Vaast-La-Hougue immer wieder gemalt. Vor allem in den 1880er und -90er Jahren zeigte er Landschaften mit der Darstellung dieser Orte im Pariser Salon (u.a. 1881, 1882,1886, 1887, 1890, 1893, 1895, 1900).Abb. 1/Ill. 1: Édouard Manet, Le balcon, Musée d´Orsay, Paris © bpk | RMN - Grand Palais | Hervé Lewandowski

Edouard Manet1832 Paris - 1883 Paris - "Jeanne (Le Printemps)" (1888/1902) - Radierung/Papier. 16,2 x 11,6 cm, 27,8 x 19,5 cm. Im Druck sign. l. u.: Manet. Betit. r. u.: JEANNE / (Eau-forte originale). Bez. l. u.: Gazette des Beaux-Arts. Bez. r. u.: Imp. A. Porcabouef, Paris. Passepartout. Gebräunt. Verso oben am Passepartout befestigt (Papierklebestreifen). - Lit.: Guerin 66.

Berthe Morisot1841 Bourges - 1895 Paris - "Jeune fille etendue (Portrait of Julie Manet)" - Radierung/Papier. 8,2 x 12 cm, 19,2 x 24,9 cm. Passepartout. Ränder und Rückseite gebräunt.

Schlesischer Deckelbecher mit FutteralSilber; teilweise vergoldet. Auf aufgewölbtem Fuß konischer Becher mit profiliertem Lippenrand. Die Wandung mit geraden Faltenzügen; schauseitig ein getriebenes Medaillon mit der Darstellung eines protestantischen Geistlichen, von einem Engel einen Lorbeerkranz empfangend. Umlaufend graviert: "Nexuit Hanc Fratrum Pietas / Manet Optima Caso", datiert 1748. Der aufgewölbte, einmal abgesetzte Stülpdeckel mit entsprechendem Dekor und Eichelknauf. Im originalen Lederfutteral mit Goldprägung. Marken: BZ Neisse für 1742, MZ Josef Lorentz Hartmann (1743 - 1785, Hintze S. 56). H 17 cm, Gewicht 224 g.Neisse, Josef Lorentz Hartmann, 1742.ProvenienzAus einer bedeutenden italienischen Sammlung.

Wunderlich, Paul1927 - 2010, deutscher Maler, Grafiker und Bildhauer. 3 Grafiken: "Paul gut getroffen", "Jagdpoesie" und "Nach Manet", 1983, je unten rechts mit Bleistift von Hand sign., unten links mit Bleistift num. 521/1000, Farblithographien/Papier, HxB: je ca. 50,8/41,8 cm (Bildmaße). Part. gewellt. Im Passepartout hinter Glas gerahmt. Lit.: Paul Wunderlich, Werkverzeichnis der Druckgraphik II 1983-2004, Ernst Hanke, S. 21 u. 22, 701, 702 und 703 (mit Abb.).

NO RESERVE Neutres (Jérôme) Brancusi New York 1913-2013, New York, 2013 § Brassaï/Picasso: Conversations avec la Lumière, Paris, 2000 § Miró's Studio, Barcelona, 2015 § Herzogenrath (W.) & Dorothee Hansen. Van Gogh: Fields. The Field with Poppies and the Artists' Dispute, Bremen, 2002 § Florizoone (Patrick) James Ensor: De Baden van Oostende, Ostend, 1996 § Wilson-Bareau (J.) & David Degener. Manet and the Sea, New Haven and London, 2004, illustrations, many colour, original cloth or boards, the last three with dust-jackets; and others on modern continental art, 4to & 8vo (3 boxes)

A MAGNIFICENT AND LARGE GREEN JADE MYTHICAL BEASTQing DynastyThe imposing animal carved recumbent with large bulbous eyes beneath bushy brows, a wide mischievous grin revealing fangs, the accentuated spine terminating with the large bushy tail sweeping across its left haunch, its paws neatly tucked beneath the large body, the stone of mottled dark olive-green tone with russet veins. 32cm (12 1/2in) long; 8550g. Footnotes:清 青玉瑞獸Provenance: Milly von Friedländer-Fuld (1866-1943), Berlin (this lot is sold with the permission of the heirs of Milly von Friedländer-Fuld)Auktion Van Marle & Bignell, The Hague, 20-25 October 1941, lot 1384Kunsthandel v.Veen, AmsterdamSpink and Son Ltd., LondonBluett and Sons Ltd., London, 15 November 1984A British private collection, and thence by descentPublished, Illustrated and Exhibited: Chinesische Kunst, Berlin, 1929, p.394, no.1086Somerset House, 1979來源： Milly von Friedländer-Fuld (1866-1943)舊藏，柏林(該拍品經 Milly von Friedländer-Fuld 繼承人許可出售)Auktion Van Marle & Bignell，海牙，1941年10月20-25日，拍品編號1384Kunsthandel v.Veen，阿姆斯特丹倫敦古董商Spink and Son, Ltd.倫敦古董商Bluett and Sons Ltd.，1984年11月15日英國私人收藏，並由後人保存迄今展覽著錄：《中國藝術》，柏林，1929年，第394頁，編號1086Somerset House, 1979年Milly Antonie von Friedländer-Fuld was born in the Netherlands in 1866, the daughter of the banker Elias Jacob Fuld and his wife Lina. Her father, a native of Frankfurt, ran the Amsterdam bank Becker & Fuld together with Carl Becker, which maintained close ties with the Rothschild Bank in Frankfurt. According to a list from 1913, the family was one of the wealthiest families in Germany. The family's town house on Pariser Platz was furnished in a manner befitting its status and contained a constantly growing art collection, which was later to include paintings by van Gogh, Picasso, Gauguin, but also by French Impressionists such as Manet and Monet, which belonged to her daughter Marie-Anne von Goldschmidt-Rothschild. Milly's husband, Fritz von Friedländer-Fuld was known for his collection of gold and silver objects, such as rare boxes, nécessaires, flacons and watches, parts of which he had exhibited in Berlin in 1906. The present lot was loaned by Milly von Friedländer-Fuld and exhibited in the seminal Chinesische Kunst exhibition of 1929 in Berlin. This exhibition was amongst the first major exhibitions of Chinese art in Europe. It included 1270 works of art, on loan from some of the greatest museums such as the Asian Art Museum in Berlin, the Louvre and Guimet in Paris, the Rijksmsueum in Amsterdam, the National Museum in Stockholm, as well from some of the leading collectors and dealers such Adoplhe Stoclet, George Eumorfopoulos and C.T. Loo, to name a few. After her husband's death in 1917, Milly Antonie von Friedländer-Fuld initially moved to the Netherlands and France. However, the palace and its inventory remained in the family and was used by her as well as her daughter Marie-Anne von Goldschmidt-Rothschild and her family, who still resided there in June 1938. Following Hitler's rise to power, the palace was forcibly sold to Albert Speer, on behalf of the German Reich, and much of the family's property was seized. In August 1939 ten trucks left Berlin with inventory and art objects to Amsterdam for storage at De Gruyter & Co. - likely also including the present lot. These were later seized as well and similarly to the fate of the objects in Palais Friedländer in Berlin, were sold at auction between 1941 and 1942. After the occupation of the Netherlands by the Germans, Milly Antonie von Friedländer-Fuld fled to France, and died in Cannes in 1943. The jade mythical beast which was sold in The Hague at Marle & Bignell in October 1941 to a Dutch dealer, made its way to the UK and sold through London dealers Spink & Son and Bluett's & Sons to a British collector. It is now sold with the agreement of the British collector's family and the heirs of Milly Antonie von Friedländer-Fuld.The present lot is remarkable for its extremely large size (32cm long) and weight (8.55kg) and anthropomorphic face. Large jade animal carvings include both animals and mythical beasts; the former such as water buffaloes, horses and elephants and the latter, mythical creatures such as Buddhist lions, qilin and luduan. See for example S.C.Nott, Chinese Jade Throughout the Ages, London, 1975, pls.241, 391, 392, 394, 395 and 397. See also a pale green and russet jade carving of a bixie, Ming dynasty, with closely related humanoid face, which was sold at Bonhams London, 17 May 2012, lot 25.It is extremely rare to find animals and beasts of such striking size, and although widely published and much admired, exceptionally large jade animals such as the present lot, in fact, form a very select and unusual group within the tradition of Chinese jade carving. Usually carved with great sensitivity and naturalness, such pieces have been traditionally dated to the late Ming to early Qing period, based upon a number of factors: the similar mid-green or occasionally greyish colour of the pieces suggest that they were sourced before the quelling of Xinjiang in 1759 gave access to fine and large raw jades sent in as tribute from the new vassal region. See a large jade figure of a horse, late Ming/early Qing dynasty, illustrated by J.Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl.26:20, and also a large jade buffalo, late Ming or Qing dynasty, illustrated in Ibid, pl.26:19.For further information on this lot please visit Bonhams.com

In the style of Edourdo Manet. A large oil on canvas painting. Slipping from frame and evidence of past staining. Unsigned. Mid twentieth century. H.98 W.159 cm.