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WUNDERLICH, PAUL WUNDERLICH, PAUL 1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Titel: Helga. Datierung: 1959. Technik: Öl auf Hartfaserplatte. Montierung: Auf dickem Karton aufgezogen. Maße: 77 x 62,5cm. Bezeichnung: Signiert und datiert unten rechts: Wunderlich 1959. Rahmen/Sockel: Rahmen. WVZ. Jensen, Nr. 34. Erläuterungen zum Katalog Paul Wunderlich Deutschland Phantastischer Realismus Surrealismus Nachkriegskunst Unikate 1950er Figur / Figuren Gemälde Öl Frau WUNDERLICH, PAUL WUNDERLICH, PAUL 1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Title: Helga. Date: 1959. Technique: Oil on fibreboard. Mounting: Laid down on thick card. Measurement : 77 x 62,5cm. Notation: Signed and dated lower right: Wunderlich 1959. Frame/Pedestal: Framed. Cat. rais. Jensen, no. 34. Explanations to the Catalogue Paul Wunderlich Germany Surrealism Post-War Art Modern Art 1950s Figure / Figures Painting Oil Woman

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: "When Billy the Kid was in the civil war". Datierung: 2002. Technik: Gouache und Tusche auf Velin. Maße: 56,5 x 70cm. Bezeichnung: Signiert unten rechts: Marcel DZAMA. Betitelt im oberen Blattbereich. Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Krieg DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: "When Billy the Kid was in the civil war". Date: 2002. Technique: Gouache and India ink on vellum. Measurement: 56,5 x 70cm. Notation: Signed lower right: Marcel DZAMA. Titled in the upper sheet area. Frame/Pedestal: Framed. Not examined out of the frame. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media War

RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Köln 1892 - 1970 Titel: Pferde. Datierung: 1957. Technik: Gouache auf Karton. Darstellungsmaß: 77,8cm Blattmaß: 62,5cm. Bezeichnung: Signiert und datiert. unten rechtsAnton 57Rahmen: Passepartout. Auf der Rückseite ist eine ausgestrichene Gouache mit ähnlichem Motiv. Signiert und datiert: Anton 57. Erläuterungen zum Katalog Anton Räderscheidt Deutschland Neue Sachlichkeit Abstraktion Moderne Kunst Unikate 1950er Pferde Papierarbeit Gouache Tiere RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Cologne 1892 - 1970 Title: Pferde. Date: 1957. Techinque: Gouache on card. Depiction Size: 77,8cm. Sheet Size: 62,5cm. Notation: Signed and dated. lower rightAnton 57Frame: Mat. On the back is a crossed out gouache with a similar motive. Signed and dated: Anton 57. Explanations to the Catalogue Anton Räderscheidt Germany New Objectivity Abstraction Modern Art 1950s Horses Works on paper Gouache Animals

FOTH, DETLEV FOTH, DETLEV 1959 Münster Titel: Ohne Titel. Datierung: 2004. Technik: Öl auf Leinwand. Maße: 60 x 80cm. Bezeichnung: Signiert und datiert verso: Foth 2004. Erläuterungen zum Katalog Detlev Foth Deutschland Figurative Malerei Zeitgenössische Kunst Unikate 2000er Landschaft Gemälde Öl Abstrakt FOTH, DETLEV FOTH, DETLEV 1959 Münster Title: Untitled. Date: 2004. Technique: Oil on canvas. Measurement: 60 x 80cm. Notation: Signed and dated verso: Foth 2004. Explanations to the Catalogue Detlev Foth Germany Figurative Painting Contemporary Art 2000s Landscape Painting Oil Abstract

LÜPERTZ, MARKUS LÜPERTZ, MARKUS 1941 Liberec/Böhmen Titel: Ohne Titel. Datierung: Ca. 2006. Technik: Mischtechnik auf Papier (Telekom Rechnung). Darstellungsmaß: 30cm. Blattmaß: 21,5cm. Bezeichnung: Künstlersignet. Rahmen/Sockel: Rahmen. Erläuterungen zum Katalog Markus Lüpertz Deutschland Neoexpressionismus Figurative Malerei Neue Wilde Nachkriegskunst Unikate 2000er Tanz / Tänzer Papierarbeit Mischtechnik Mann LÜPERTZ, MARKUS LÜPERTZ, MARKUS 1941 Liberec/Bohemia Title: Untitled. Date: Ca. 2006. Technique: Mixed media on paper (Telekom invoice). Depiction Size: 30cm. Sheet Size: 21,5cm. Notation: Artist's signet. Frame/Pedestal: Framed. Explanations to the Catalogue Markus Lüpertz Germany Neo-Expressionism Figurative Painting Neue Wilde Post-War Art Post War 2000s Dance / Dancer Works on paper Mixed media Man

RIS, GÜNTER FERDINAND RIS, GÜNTER FERDINAND 1928 Leverkusen - 2005 Darmstadt Titel: Rundrelief. Datierung: 1967. Technik: Lekutherm auf schwarz gestrichener Holzplatte montiert. Maße: 56 x 56 x 8,5cm. Vermutlich eines von zwei Exemplaren. Wir danken Boris von Brauchitsch, Berlin, für die freundliche, wissenschaftliche Unterstützung. Erläuterungen zum Katalog Günter Ferdinand Ris Deutschland Abstraktion Konstruktivismus Nachkriegskunst Objekte 1960er Abstrakt Relief Lekutherm RIS, GÜNTER FERDINAND RIS, GÜNTER FERDINAND 1928 Leverkusen - 2005 Darmstadt Title: Rundrelief. Date: 1967. Technique: Lekutherm mounted on black-painted wooden panel. Measurement: 56 x 56 x 8,5cm. Presumably one of two copies. We thank Boris von Brauchitsch, Berlin, for the kind, scientific support. Explanations to the Catalogue Günter Ferdinand Ris Germany Abstraction Constructivism Post-War Art Sculptures 1960s Abstract Relief

VIRNICH, THOMAS VIRNICH, THOMAS 1957 Eschweiler Titel: Italien. Datierung: 1995. Technik: Landkarten und Leinwand, verklebt und verformt auf Maße: 95 x 32cm. 3Bezeichnung: Datiert und signiert verso Mitte: 1995 Thomas Virnich. Rahmen/Sockel: Im Plexiglasrahmen. Erläuterungen zum Katalog Thomas Virnich Deutschland Zeitgenössische Kunst Objekte 1990er Italien Objekt VIRNICH, THOMAS VIRNICH, THOMAS 1957 Eschweiler Title: Italien. Date: 1995. Technique: Maps and canvas, glued and deformed on Measurement: 95 x 32cm. 3Notation: Dated and signed verso centre: 1995 Thomas Virnich. Frame/Pedestal: In Plexiglass frame. Explanations to the Catalogue Thomas Virnich Germany Contemporary Art Sculptures 1990s Italy Object

STANKOWSKI, ANTON STANKOWSKI, ANTON 1906 Gelsenkirchen - 1998 Stuttgart Titel: Plastik mit gleichem Volumen. Datierung: 1979. Technik: Edelstahl, verchromt auf Maße: 68,5 x 10cm. 8,5 Lit.: Anton Stankowski - Das Gesamtwerk 1925-1982, Stuttgart 1983, S. 342f., Kat.-Nr. 40b (Beigabe). Erläuterungen zum Katalog Anton Stankowski Konkrete Kunst Klassische Fotografie Nachkriegskunst Objekte 1970er Abstrakt Skulptur Edelstahl STANKOWSKI, ANTON STANKOWSKI, ANTON 1906 Gelsenkirchen - 1998 Stuttgart Title: Plastik mit gleichem Volumen. Date: 1979. Technique: Stainless steel, chromed on Measurement: 68,5 x 10cm. 8,5 Lit.: Anton Stankowski - Das Gesamtwerk 1925-1982, Stuttgart 1983, p. 342f., cat. no. 40b (supplement). Explanations to the Catalogue Anton Stankowski Concrete Art Classic Photographs Post-War Art Sculptures 1970s Abstract Sculpture Stainless steel

KRIESTER, RAINER KRIESTER, RAINER 1935 Plauen - 2002 Vendone/Italien Titel: Piccola porta. Datierung: 1999. Technik: Bronze, dunkel patiniert auf Maße: 13,5 x 4cm. 3Bezeichnung: Signiert und nummeriert auf der Unterseite: KRIESTER 36/50. Daneben mit Gießerstempel: GIESSEREI ZIMMEREdition Kunsthaus Lübeck (Hrsg.)36/50 WVZ Schmied, Nr. 1329, Abb. Erläuterungen zum Katalog Rainer Kriester Deutschland Abstraktion Nachkriegskunst Objekte 1990er Kopf Skulptur Bronze Figur / Figuren KRIESTER, RAINER KRIESTER, RAINER 1935 Plauen - 2002 Vendone/Italy Title: Piccola porta. Date: 1999. Technique: Bronze, dark patinated on Measurement: 13,5 x 4cm. 3Notation: Signed and numbered underneath: KRIESTER 36/50. Next to it with the foundry mark:GIESSEREI ZIMMEREdition Kunsthaus Lübeck (publisher)36/50 Cat. rais. Schmied, no. 1329, ill. Explanations to the Catalogue Rainer Kriester Germany Abstraction Post-War Art Sculptures 1990s Head Sculpture Bronze Figure / Figures

PAEFFGEN, C.O. PAEFFGEN, C.O. Köln 1933 - 2019 Titel: Ohne Titel (Fragezeichen). Datierung: 1988-96. Technik: Holz, Lackfarbe, Draht und Pflasterstein. Maße: 105 x 42 x 5cm. Bezeichnung: Monogrammiert und datiert auf Stein seitlich: C.O.P. 88 96. Erläuterungen zum Katalog C.O. Paeffgen Deutschland Pop Art Nachkriegskunst Objekte 1980er Wort Objekt Holz PAEFFGEN, C.O. PAEFFGEN, C.O. (CLAUS OTTO) Cologne 1933 - 2019 Title: Untitled (Question Mark). Date: 1988-96. Technique: Wood, varnish, wire and cobblestone. Measurement: 105 x 42 x 5cm. Notation: Monogrammed and dated laterally on the stone: C.O.P. 88 96. Explanations to the Catalogue C.O. (Claus Otto) Paeffgen Germany Pop Art Post-War Art Sculptures 1980s Word Object Wood

Jack Butler Yeats RHA (1871-1957) Sleep by Falling Water (1948) Oil on canvas, 46 x 61cm (18 x 24'') Signed Provenance: Capuchin Annual Office Dublin; Mrs Jobling-Purser Dublin; Christies (Dublin) 24th October 1988 (front cover illustration of catalogue). Private Collection Dublin. Exhibited: ''Jack B. Yeats'', Victor Waddington Galleries, Oct 1949, Cat. No. 6; ''Jack B. Yeats - First Retrospective American Exhibition'', Institute of Contemporary Art Boston, 1951/2 and travelled Nationwide; ''Jack B. Yeats'' Galerie Beaux-Arts, Paris, February 1954, Cat. No. 19; ''Jack B. Yeats'', Loan Exhibition New Gallery, Belfast, June 1965, Cat. No. 7. Literature: ''Jack B. Yeats - A Catalogue Raisonne of the Oil Paintings'' by Hilary Pyle Vol. II, Catalogue No.955, illustrated p.862. An old man lies on the ground his hands across his chest. On his right a torrent of water cascades down a rocky ravine. On his left a chasm and a dramatic mountainous landscape extends to the horizon. Hilary Pyle has likened the setting to that of On Through the Silent Lands (1951, Ulster Museum). According to her catalogue raisonné it is based on the terrain of the Sligo-Leitrim border. The theme is a familiar one in Yeats's later work. The wandering old man making his way through an uncultivated landscape, resting or walking or chatting to others that he meets recurs in many late paintings. The features of this figure have been likened to those of Yeats himself and it is possible that the painting, as in most works of art, is at some level autobiographical. The sleeping figure surrounded by a vibrant landscape is often a trope in painting to suggest the imagination of the sleeper who, lost in his dreams, experiences life in an intense way. Similarly, the subject also suggests the poignancy of nature in the eyes of someone who has grown old and aware of their mortality. Yeats painted this when he was 77 years of age. The construction of the surface of the painting counteracts the romanticism of the subject matter. The creation of the waterfall through a cacophony of colours and a myriad of brushstrokes suggest the energy and movement of the water. But it also draws attention to the construction of the painting and invites the viewer to accept the illusions that it creates. In this setting the figure of the man appears fragile, fashioned as it is out of a few strokes of black and white paint amidst the colourful and expansive nature than surrounds and almost engulfs it. Rather like the background to Leonardo's Mona Lisa, Yeats's fantastic setting dwarfs the physicality of the figure while suggesting the richness and depth of the human imagination. Dr. Roisin Kennedy The National Gallery of Ireland is planning an exhibition to mark the 150th anniversary of the birth of Jack B. Yeats which is due to run from 4 September 2021 until 6 February 2022. The NGI curators have requested the loan of this painting, for inclusion in this prestigious exhibition.

Norah McGuinness HRHA (1901-1980) Flight over Mulroy Oil on canvas, 51 x 76cm (20 x 30'') Signed Norah McGuinness's paintings of the coastline of Ireland were highly regarded in her lifetime and have since come to be recognised as amongst her most distinctive contribution to modern Irish landscape painting. Many depict the murky sandbanks of Dublin, where she lived. But she also had a studio at Rathmullan on the banks of Lough Swilly close to Co. Derry where she was from originally. While staying here she painted many scenes of Mulroy Bay in North Donegal, the earliest dating from the 1940s. Mulroy links Fanad Head and Rosguill Peninsula and is now spanned by a bridge but was connected by ferry for many years. Literally taking a bird's eye view the painting lays out the contours of the land and sea as seen from above. The shape of the coastline is simplified and the rocks, hills and shrubbery transformed into decorative elements within the flat patterning of the terrain. Soaring across this stylised landscape is a gull, its body extended outwards revealing its plumage and making it appear exotic. More detailed and focused than the ground beneath it, the juxtaposition of the bird and the land emphasise the two separate planes that each occupy. In this way McGuinness draws on her extensive understanding of design and her knowledge of cubism. The final painting was made in the studio, not en plein air, although the artist probably used drawings and sketches made at the scene as her initial inspiration. In the final painting the vagaries of the landscape are subsumed into a more controlled work of art. Subtle geometric patterning and blends of greens, greys and orange transform the natural world into a self-consciously modern painting. As in McGuinness's other Irish landscapes, she manages to make the familiar unfamiliar and present the Irish coastline as exotic and strangely contemporary. Dr. Roisin Kennedy

Mark Francis (British, born 1962)Passage (2), 1993signed and titled 'PASSAGE' (2) MARK FRANCIS (on the reverse)oil on canvas193.5 x 193.5 cm.76 3/16 x 76 3/16 in.Footnotes:ProvenanceMaureen Paley/Interim Art, LondonAnnet Gelink Gallery, AmsterdamPrivate CollectionSale: Christie's, London, Post-War & Contemporary Art Day Sale, 24 June 2005, lot 295Acquired directly from the above by the present ownerExhibitedLondon, Maureen Paley/Interim Art, Mark Francis, 1994, pp. 12-13This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot 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

Banksy (British, b. 1975)London, New York, Bristol (Heavy Weaponry), 2000 tagged Banksy (centre); dated and numbered 10/10 2000 (on the overlap)spray paint and emulsion on canvas 57 x 54 cm.22 7/16 x 21 1/4 in. This work is number ten from an edition of ten unique examples and is accompanied by a certificate of authenticity from Pest Control Office.Footnotes:ProvenancePrivate Collection, UKArtificial Gallery, LondonAcquired directly from the above by the present owner in 2015One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. In a unique work from a rare edition of 10, London, New York, Bristol (Heavy Weaponry), 2000, encapsulates the provocative, jocular spirit of a career defined by its irreverence, satire, and defiance. From his emergence as a figurehead of Street Art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Here, his gritty style and piquant humour is on display with typical panache – a masterclass in stencil and spray paint on canvas. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him nor the troubled politics and issues of his time. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order. He is the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists and the powers-that-be. He is polemic, scathing and satiric and everyone is a possible target, including himself.In true Banksy style, the present work is littered with a variety of symbols and motifs that have recurred throughout the Bristol-born artist's practice, standing in for his idiosyncratic style of commentary and mode of image making. An oversize barcode, an elephant backpacking a missile, and the names of the cities that early on bore the stencils of the lesser-known master in the 1990s and early 2000s. The painting feels charged with a veiled anti-war sentiment, mocking the commoditisation of military engagement. Banksy's own 'heavy weaponry,' however, remains his stencil and the art of the image, and London, New York, Bristol (Heavy Weaponry) reads as much a declaration of intent for artistic intervention in these locations as a critique of militant malpractice. Indeed, as Banksy's has recalled, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after.Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable. For so long the 'elephant in the room' of the art world, his legacy is secured as a definitive artist of the period, and London, New York, Bristol (Heavy Weaponry) stands as one of those most rare Banksy paintings on canvas that is a unique work from a very limited edition.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Bob & Roberta Smith (British, born 1963)I Believe in Georges Braque, 1998 signed and dated BOB + Roberta Smith '98 (on the reverse)gloss paint on panel36.5 x 53.5 x 5.5 cm.14 3/8 x 21 1/16 x 2 3/16 in.Footnotes:ProvenanceRhona Hoffman Gallery, ChicagoPrivate Collection, USASale: Hindman, Chicago, Post War and Contemporary Art, 28 September 2017, lot 118Anthony Wilkinson Gallery, LondonAcquired directly from the above by the present ownerThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Chris Burden (American, 1946-2015)#2 Prototype (from When Robots Rule: The Two-Minute Airplane Factory), 1999 inscribed 2 (on the wing)coloured paper, balsa wood, plastic and wire16.5 x 25 x 25 cm.6 1/2 x 9 13/16 x 9 13/16 in.Footnotes:ProvenancePrivate Collection, UK (a gift from the artist in 1999)ExhibitedLondon, Tate Gallery, When Robots Rule: The Two-Minute Airplane Factory, 1999 (prototype for the exhibition)One of the most important contemporary artists of the Postmodern period, Chris Burden's legacy as an icon of performance and conceptual art stands amongst an exalted group of artists including Marcel Duchamp, Joseph Beuys, Marina Abramovic and Joseph Kosuth. Having moved to Los Angeles in 1965, the late Burden emerged in the 1970s as one of the most thrilling, outlandish and influential artists of his generation, redefining the new avant-garde in contemporary art at the time. An artist whose most seminal works were 'events' – including his famous 1971 performance Shoot, where the artist coordinated having himself non-lethally shot, or Trans-Fixed (1974), that saw him crucified onto a Volkswagen Beetle – objects handmade by Burden are significantly limited, and in this instance utterly unique. Coming to market here is one of the first prototypes by the artist for his major solo presentation at the Tate Britain in 1999, When Robots Rule: The Two-Minute Airplane Factory. Having designed an automated assembly-line to mass produce a type of model airplane known as a 'Rise-Off-Ground' or 'R.O.G.,' this #2 Prototype is a handmade maquette initially planned to be fabricated in a run of approximately 18,000 by the machine for the tenure of its stay in the grand atrium of the Duveen gallery. Burden had previously incorporated his simple but effective designs for model aircraft into five earlier artworks, including Airplane and Barbed Wire (1980), now in the collection of the Los Angeles County Museum of Art. As it would result for his exhibition at the Tate Britain, the machine did not function once over the 102-day run of the exhibition – leading many critics to question, in true Burden style, was this by design? – making this delicate prototype one of the few pieces to truly document Burden's only solo presentation at the Tate Galleries during his lifetime. Completely fresh to market, extremely rare and accompanied by original blueprints for Burden's assembly-line, in addition to a signed copy of the exhibition catalogue dedicated to the present owner who assisted in the production of When Robots Rule, this #2 Prototype represents an opportunity to acquire a hugely important piece from the career of an artist whose work was captivating, shocking, and changed the way artists approached 'making art' forever. For further information on this lot please visit Bonhams.com

Marcia Hafif (American, 1929-2018)Cadmium Red Medium, 1991 signed, titled and dated CADMIUM RED MEDIUM MARCIA HAFIF 1991 (on the overlap)oil on canvas86.4 x 86.4 cm.34 x 34 in.Footnotes:ProvenanceGalerie Albert Baronian, BrusselsPrivate Collection, EuropeAcquired directly from the above by the present ownerExhibitedAalst, Galerij S65, Red Paintings, 1998The late Marcia Hafif was a true pioneer of contemporary painting. One of the definitive artists of Minimalism and early Pop Art in Europe, her legacy as a pivotal figure of the post-war period has emerged in earnest since her passing in 2018, positioning her as one of the leading female figures of her generation. Presented here are two iconic examples of her paintings and works on paper – pieces that embody Hafif's conceptual endeavour and deep aesthetic appreciation for colour, process and form. Across a pure canvas of florid red, laden with measured strokes, and in the studied marks forming an austere lattice of lines that reads as a harmony of musical annotation, the simple power of her work is tantalising to behold in the present works. In Cadmium Red Medium (1991) and November 20, 1972 (1972), Hafif achieves a serene force that holds the physical qualities of her materials in equilibrium with the visual impact of their composition. Hafif's colour field painting and pop minimalist style owed much to her travels in the 1960s; her global perspective bred an appreciation for the emergent postmodernisms that were developing in America and Europe from the 1950s onwards. With the arrival of Abstract Expressionism, Minimalism and Pop Art, Hafif was revolutionary in her use of colour as a medium, expanding the nature of the 'plane of the painting,' whose significance had become the credo of the likes of Jackson Pollock, Barnett Newman, and Jasper Johns. In her paintings, Hafif used the plane to carve out geometries and colour fields that pre-date the work of many of her male contemporaries, and whilst being included in many exhibitions that evidenced her rightful place in the canon, such as Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin, the current market has yet to truly react to her serious contribution to painting in the Twentieth Century. Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico and Piero della Francesca. Learned in the intense process and methodological struggles of renaissance painting, whose layers, colours and radiance could only be achieved through a virtuoso understanding of the compound elements of paint and their affect on the eye, Hafif applied such a holistic vision to the reductive canvas painting of the day – geometrical minimalism. During her tenure in Rome, she aligned herself with the Italian Pop Art movement, as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Producing geometric and dichromatic canvases, she returned to New York in 1971 building upon this period of creativity, achieving a maturity in her practice that led her to produce some of her first monochromes; a lifelong series that would define the artist's output for rest of her career.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online).In the present two works, Hafif's place in the art historical canon beside the likes of Brice Marden, Agnes Martin and Ellsworth Kelly is without question. In a luscious and intense red, her Cadmium Red Medium (1991) is a unique monochrome that wonderfully conveys the intensity and labour with which Hafif rendered the pristine canvas. Likewise, November 20, 1972 (1972) demonstrates the masterful hand and the erudite mind that formulated the fastidious and complex architecture.For further information on this lot please visit Bonhams.com

Fausto Melotti (Italian, 1901-1986)Quattro coppette (Four little bowls) each signed with seven dots (on the base)glazed ceramica)circa 1960Diameter: 14.5 cm.5 11/16 in.Height: 6 cm.2 3/8 in.b)circa 1965Diameter: 14.1 cm.5 9/16 in.Height: 6.2 cm.2 7/16 in.c)circa 1955Diameter: 13.3 cm.5 1/4 in.Height: 5.4 cm.2 1/8 in.d)circa 1960Diameter: 13 cm.5 1/8 in.Height: 6.5 cm.2 9/16 in.Footnotes:This work is registered in the Fondazione Fausto Melotti, Milan, under no. CT 728, CT 729, CT 730 and CT 731.ProvenanceAngelo Ambrosini Collection, MilanThence by descent to the present ownerBorn in Rovereto in 1901, Fausto Melotti's work is not easily defined. Working as a sculptor, painter, poet, and ceramicist Melotti moved freely between abstraction and figuration and his work is linked to Futurism, Surrealism and Arte Povera amongst others. Having grown up in a musical family, he went on to study mathematics and physics at the University of Pisa and engineering, art and architecture at the University of Milan. Music remained an integral part of his life and its influence, along with his scientific expertise can be found throughout his practice. At 27 Melotti enrolled in the Accademia di Belle Arti di Brera in Milan where, in the Plastica della figura class of the prominent symbolist sculptor Adolfo Wildt, he met Lucio Fontana who would become a lifelong friend. Whilst both Fontana and Melotti went on to produce a considerable ceramic oeuvre, Melotti was long best known for his lithe metal sculptures and Teatrini (Mini Theaters or Puppet Theaters). Ceramics would only really become a main focus of his practice towards the end of the Second World War, after his studio was destroyed in the bombardments of Milan, initiating a period in which the artist would focus exclusively on the production of ceramic and terracotta works. His experimental and hugely prolific foray into the ductile and intriguing material resulted in bas reliefs, abstract vases, lustrous bowls and plates, ashtrays, small ceramic sculptures, and whimsical teatrinos and he frequently mixed ceramics with steel or iron. Highlighting the beautiful iridescent glazes so characteristic of Melotti's ceramics, the present collection of works wonderfully showcase his mastery of the medium and his acceptance that he would never be fully in control of the finished product. To work in ceramics, means to hand over part of the artistic process to the kiln and the fire and according to the artist, that was why many traditional sculptors shied away from the medium. The glazes in countless shades of blue and soft pinks are interlaced with metallic accents that enhance the elegant design and feel of their vessels and gives each pot a delicate, gem like quality. As stated by Melotti, 'For an artist, ceramic is a material like bronze or marble. Ceramic may even be a more fascinating material because of the mystery in which it is born from. [...] The adventure of the piece of ceramic that enters the oven amorphous and emerges in full party dress is the source of an exciting joy, an indefinite limit between sense and beauty. It's like a holiday trip into a world that is more fairy-like [féerique] than magical, a world where expressions like joy in work find value and meaning. (The artist in: Antonella Commellato, 'Lotta. Materia prepotente Cervello luminoso', in Antonella Commellato and Marta Melotti, Fausto Melotti. L'opera in ceramica, Milan 2003, p. 27)Melotti was an integral part of the artistic and intellectual fabric of post-war Italy. A contemporary of Alexander Calder, parallels can also be drawn between the sculptures of Alberto Giacometti and throughout his life he stood in regular artistic exchange with some of the most revered artists of the age, such as Lucio Fontana and Gio Ponti. Today, his work is held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Rome, and the Gori Collection in Pistoia, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Marcia Hafif (American, 1929-2018)November 20, 1972, 1972 signed, titled and dated November 20, 1972 M. Hafif (lower right) and inscribed one hour twenty minutes (lower left)pencil on paper60.2 x 45.7 cm.23 11/16 x 18 in.Footnotes:ProvenanceCollection of the artistPrivate Collection, EuropeAcquired directly from the above by the present ownerExhibitedLos Angeles, The Museum of Contemporary Art, Afterimage: Drawing Through Process, 1999For further information on this lot please visit Bonhams.com

Anton Rooskens (Dutch, 1906-1976)Figure and bird, 1973 signed and dated Rooskens 73 (lower right)gouache on paper50 x 60 cm.19 11/16 x 23 5/8 in.Footnotes:ProvenancePrivate Collection, EuropeSale: Christie's, Amsterdam, Modern and Contemporary Art, 4 June 1997, lot 169Galerie Mia Joosten, AmsterdamAcquired directly from the above by the present owner in 1998This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ray Parker (American, 1922-1990)K7, 1970 signed and dated R. Parker 1970 (on the reverse)acrylic on canvas77.8 x 78.7 cm.30 5/8 x 31 in. Footnotes:ProvenanceGertrude Kasle Gallery, DetroitSale: Hindman, Chicago, Modern and Contemporary Art, 25 September 2013, lot 1050Acquired directly from the above by the present ownerFor further information on this lot please visit Bonhams.com

Cleve Gray (American, 1918-2004)Zen Gardens #22, 1982 signed, titled and dated Gray- '82 Zen Gardens #22 (on the reverse)acrylic on canvas107.5 x 178.1 cm.42 5/16 x 70 1/8 in. Footnotes:ProvenancePrivate Collection, PhiladelphiaSale: Freeman's, Philadelphia, Modern & Contemporary Art Auction, 2 November 2014, lot 61Acquired directly from the above by the present ownerFor further information on this lot please visit Bonhams.com

Byron Browne (American, 1907-1961)Africana, 1950-1951 signed and dated Byron Browne 1950-51 (lower left); signed, titled and dated Byron Browne 1950-51 -Africana- (on the reverse)oil and collage on canvas61.3 x 76.3 cm. 24 1/8 x 30 1/16 in.Footnotes:ProvenanceCollection Mr & Mrs Barney O'HaraGallery Schlesinger-Boisanté, New YorkSale: Auctionata, New York, Modern & Contemporary Art, 20 November 2015, lot 118Acquired directly from the above by the present ownerExhibitedNew York, Gallery Schlesinger-Boisanté, Byron Browne: Ten Paintings of the 1950's, 1986New York, Nassau County Museum of Fine Art, Byron Browne: Paintings and Drawings from the 30's, 40's & 50's, 1987, no. 54, illustratedFor further information on this lot please visit Bonhams.com

Andy Warhol (American, 1928-1987)Campbell's Soup Can on a Shopping Bag Screenprint in colours, 1966, on a paper bag, from an edition of an unknown size, published for the exhibition at the Institute of Contemporary Art, Boston, 600 x 440mm (23 5/8x 17 3/8in)(overall)For further information on this lot please visit Bonhams.com

Richardson, [Jonthan]: Two Discourses: 1. An Essay on the Whole Art of Criticism as it relates to Painting, Showing how to Judge (1) of the Goodness of a Picture; (2) Of the Hand of the Master; and (3) Whether 'tis an Original or a Copy. 2. An Argument in behalf of the Science of a Connoisseur. First Edn., London, for W. Churchill 1719, 8vo contemporary panelled calf, lacking label. (1)

Dianne Watson (Scottish contemporary, gouache "figure", 40 cm x 31 cm, framed, Arts in Fife art label verso.

ChristoWrapped Woman, Project for the Institute of Contemporary Art, Philadelphia, 1968 Farblithographie mit Graphit sowie mit Folie und Faden collagiert 56 x 71 cm. Unter Plexiglas gerahmt. Signiert und nummeriert. Exemplar HC 24/30 (+125 + XXX A.P.) Edition La Poligrafa, BarcelonaJörg Schellmann (Hg.), Christo and Jeanne-Claude, Prints and Objects, Ostfildern 2013, WVZ-Nr. 175 ChristoWrapped Woman, Project for the Institute of Contemporary Art, Philadelphia, 1968 Colour lithograph collaged, graphite with foil and thread 56 x 71 cm. Framed under Plexiglas. Signed and numbered. Proof HC 24/30 (+125 + XXX A.P.). Edition La Poligrafa, Barcelona.Jörg Schellmann (ed.), Christo and Jeanne-Claude, Prints and Objects, Ostfildern 2013, cat.rais.no. 175

Rolf CavaelNo. 61/S2 Öl auf Leinwand 61 x 50,1 cm Gerahmt. Unten rechts schwarz monogrammiert 'CA' (ligiert) sowie rückseitig schwarz signiert, bezeichnet und datiert 'CAVAEL No 61/S2'. - Die Leinwand minimal wellig.Nicht bei KellerWir danken Claudia Mindak, Hohen Neuendorf, für die Bestätigung des Werks. Das Gemälde ist im Archiv des Nachlasses verzeichnet.ProvenienzVan Ham Kunstauktionen, Köln, Modern and Contemporary Art, 30. Mai 2001, Lot 388; Privatsammlung, Rheinland Rolf CavaelNo. 61/S2 Oil on canvas 61 x 50.1 cm Framed. Monogrammed 'CA' (joined) in black lower right and verso signed, inscribed, and dated 'CAVAEL No 61/S2' in black. - The canvas minimally wavy.Not recorded by KellerWe would like to thank Claudia Mindak, Hohen Neuendorf, for confirmation of the work. The painting is registered in the archive of the estate.ProvenanceVan Ham Kunstauktionen, Cologne, Modern and Contemporary Art, 30 May 2001, lot 388; Private collection, Rhineland

Roger BissièreComposition 261 Öl auf Leinwand 27 x 46 cm Unter Glas gerahmt. Unten links schwarz signiert und datiert 'RBISSIERE-56' (ligiert). Rückseitig auf dem Keilrahmen grün bezeichnet "261". - Zur oberen Leinwandkante mit feinem Craquelé, sonst in schöner Erhaltung.I. Bissière 2314ProvenienzGalerie Jeanne Bucher, Paris; Privatsammlung, Wiesbaden; Christie's London, Contemporary Art, 27. Oktober 1994, Lot 71; Privatsammlung, Schweiz Roger BissièreComposition 261 Oil on canvas 27 x 46 cm Framed under glass. Signed and dated 'RBISSIERE-56' (joined) in black lower left. - Fine craquelure towards upper canvas edge, otherwise in fine condition.I. Bissière 2314ProvenanceGalerie Jeanne Bucher, Paris; Private collection, Wiesbaden; Christie's London, Contemporary Art, 27 October 1994, Lot 71; Private collection, Switzerland

Owen Williams (British Contemporary) Woodcock in the Snow, watercolour, signed and dated '87 bottom right, mounted and framed, measurements 36 x 54 cm, frame 64 x 83 cmLabel verso for H.C. Dickins art dealersCondition report: This painting is a watercolour, the paper appearing in good overall condition with no obvious evidence for rips, tears or creasing. The paint condition appears good, no obvious signs of fading or paint loss. There appears to be a stain to the upper centre-left. Not examined external to the frame.

Wilfred Owen (British 1893-1918), Ink Sketch of Three Ducklings, dated '03, framed. Measurements 26.5 x 22.5 cm (SH), frame 44 x 36 cmWilfred Owen was a British poet and soldier from Oswestry, Shropshire. He is famous for his haunting war poetry which focused upon the horrors of the trenches and conditions during World War One which were in stark contrast to the contemporary public perception of the war effort. Owen was killed in action during the crossing of the Sambre-Oise Canal, just one week before the signing of the Armistace.Condition report: Lot 224 is a work on paper, framed under glazing, not examined external to the frame. The paper has some general signs of ageing including a few minor and sparsly distributed spots of foxing and staining. There are no obvious visible holes or creases in the paper, there is a small edge tear to the top edge of the paper.Provenance: The drawings have come from a local collection- Halls Fine Art previously sold a Wilfred Owen piece from the same collection in July 2020

Wilfred Owen (British 1893-1918), pen and ink drawing, 'Ye Olde Shoppe', dated '03 bottom left. Measurements 23 x 17.5 cm (i), 27 x 22.5 cm (SH), frame 40 x 32 cmWilfred Owen was a British poet and soldier from Oswestry, Shropshire. He is famous for his haunting war poetry which focused upon the horrors of the trenches and conditions during World War One which were in stark contrast to the contemporary public perception of the war effort. Owen was killed in action during the crossing of the Sambre-Oise Canal, just one week before the signing of the Armistace.Condition report: Lot 227 is a work on paper, framed under glazing, not examined outside of the frame. The sheet appears in good condition with no obvious signs of creases, there is a small tear to the centre left edge. There are some sparsly distributed minor spots of foxing to the upper margins and a few in the sunbeams. General ageing of the paper present.Provenance: The drawings have come from a local collection- Halls Fine Art previously sold a Wilfred Owen piece from the same collection in July 2020

Wilfred Owen (British 1893-1918), Ink Sketch of a Bird, signed and dated '03 bottom right, mounted and framed. Measurements 27 x 22 cm (i), frame 41 x 33.5 cmWilfred Owen was a British poet and soldier from Oswestry, Shropshire. He is famous for his haunting war poetry which focused upon the horrors of the trenches and conditions during World War One which were in stark contrast to the contemporary public perception of the war effort. Owen was killed in action during the crossing of the Sambre-Oise Canal, just one week before the signing of the Armistace.Condition report: Lot 225 is a work on paper framed under glazing, not examined outside of the frame. There is a crease to the top left corner and a faint one diagonally to the left side of the bird. There is some general ageing to the paper. A 1.5cm tear is present to the mid-right edge.Provenance: The drawings have come from a local collection- Halls Fine Art previously sold a Wilfred Owen piece from the same collection in July 2020

Keith Proctor (Contemporary) oil on canvas panel, depicting a small boy, signed lower left, date to verso 2009, approx 39 x 39 cms, framed, purchased from Washington Green Fine Art. Artist's Resale Rights/Droit de Suite may apply to this lot.

Fernando BoteroDr. Wibke von Bonin and guest (Harald Szeemann) Bleistift auf Papier 50 x 65,2 cm. Unter Glas gerahmt. Signiert, datiert und betitelt '"Dr. Wibke von Bonin and guest" Botero 71'. - Mit leichten Altersspuren.ProvenienzPrivatsammlung, Nordrhein-WestfalenDie Zeichnung entstand nach einer Fotografie von Manfred Tischer, Düsseldorf, und zeigt Wibke von Bonin und Harald Szeemann im Oktober 1970 in Köln. Die Fotografie liegt bei. Fernando Botero porträtiert in dieser Zeichnung zwei maßgebliche Förderer zeitgenössischer Kunst in Deutschland, Wibke von Bonin und Harald Szeemann.Von Bonin ist nach ihrer Promotion zunächst an der Kunsthalle Baden-Baden tätig, wo sie gemeinsam mit Szeemann eine Ausstellung zu kinetischer Kunst konzipiert. 1965 wechselt sie zum WDR nach Köln und ist hier über drei Jahrzehnte hinweg verantwortlich für das Ressort Bildende Kunst. Ihr Hauptaugenmerkt liegt auf der Zeitgenössischen Kunst, in zahlreichen filmischen Porträts und Atelierbesuchen bringt sie deren nationale und internationale Protagonisten einer breiten Öffentlichkeit näher.Der gebürtige Schweizer Szeemann ist 1961-1969 Direktor der Berner Kunsthalle, hier macht er sich mit progressiven kuratorischen Konzepten einen Namen. Wegweisend ist seine Ausstellung „When attitude becomes form“ von 1969, die erstmals Happenings und Installationen in den Museumkontext einbringt. 1972 kuratiert er die documenta 5, deren bisheriges Konzept er aufbricht, um den Künstlern freie Gestaltungsmöglichkeiten zu geben und „außerkünstlerische Bildwelten“ miteinzubeziehen. Szeemann entwickelt zahlreiche erfolgreiche, innovative Ausstellungen, die teils großangelegte Themenkomplexe behandeln, zweimal leitet er die Biennale in Venedig. Fernando BoteroDr. Wibke von Bonin and guest (Harald Szeemann) Pencil on paper 50 x 65.2 cm. Framed under glass. Signed, dated and titled '"Dr. Wibke von Bonin and guest" Botero 71'. - Minor traces of age.ProvenancePrivate collection, North Rhine-WestphaliaThe drawing originates after a photograph by Manfred Tischer, Dusseldorf, and shows Wibke von Bonin and Harald Szeemann Oktober 1970 in Cologne. The photograph is enclosed.In this drawing, Fernando Botero portrays two significant patrons of German contemporary art: Wibke von Bonin and Harald Szeemann.Following her doctorate, von Bonin started working at the Kunsthalle Baden-Baden where she and Szeemann conceptualised an exhibition on kinetic art. In 1965, she switched to the WDR in Cologne and remained in charge of the fine art department for more than 3 decades. She focused mainly on contemporary art and brought its national and international protagonists closer to a broad public through numerous film portraits and studio visits.A native of Switzerland, Szeemann was the director of Berner Kunsthalle from 1961-1969, making a name for himself with progressive curatorial concepts. His 1969 exhibition “When attitude becomes form” was ground-breaking, bringing happenings and installations into the museum context. In 1972, he curated documenta 5, thowing over its previous concept in order to give the artists free creative scope and to include “non-artistic visual worlds”. Szeemann developed numerous successful, innovative exhibitions which in part deal with large-scale thematic complexes. Twice, he has been director of the Venice Biennale.

Adolf HölzelFenster "Lesende" Bleiverglastes Glasfenster, teils mit Schwarzlot bemalt 107 x 33 cm Gerahmt (jüngere Bleirahmung 109 x 36 cm), mit Aufhängevorrichtung. Unten rechts datiert und bezeichnet: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Stellenweise mit einigen kleinen fachmännischen Restaurierungen.Venzner G III 1.1 (dort irrtümlich "1929" datiert, "offenbar nicht erhalten")ProvenienzDr. Willi Fulda, Lauta-Werk, Lausitz; 1947 durch Erbschaft an den Vorbesitzer; Lempertz Auktion Moderne Kunst 684, 21.11.1992, Los 193; Privatsammlung Nordrhein-Westfalen; seitdem in FamilienbesitzLiteraturWolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, S. 164-166 mit Anm. 317 S. 210, Abb. S. 273; vgl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, Auss. Kat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, S. 90 ff., insbesondere S. 92 f.Wie Katharina Erling hervorhob, stammt das seinerzeit verschollen geglaubte Fenster - wie auch der dazugehörige angebotene Entwurf (siehe Los 191) - für das Bibliothekszimmer von Dr. Willi Fulda im Lauta-Werk, Lauta/Lausitz, aus Hölzels wichtiger und letzten Schaffensperiode. In zahlreichen Pastellen beschäftigte der Künstler sich damals bekanntlich mit den Gesetzmäßigkeiten und Wirkungen von Farben und Formen im Licht, erscheinen sie doch wie leuchtende abstrakte Entwürfe für imaginäre Glasfenster. Die Gestaltung mit transparentem Glas krönte seine künstlerischen Bestrebungen. „Denn wenn Hölzel eine absolute Malerei, in Analogie zur Musik ganz aus den Mitteln heraus entwickelt, oder, um einen anderen Terminus zu gebrauchen, eine ‚musikalische Malerei' vorgeschwebt hat: Hier haben seine Intentionen die reinste Verwirklichung gefunden, konnten Beabsichtigtes und Erreichtes zu weitgehender Deckung kommen“ (Wolfgang Venzmer, Adolf Hölzel, op. cit S. 127). 1973 hatte Adolf Saile von der Werkstatt Saile in Stuttgart den Verfasser des Werkverzeichnisses auf das Fenster im Bibliothekszimmer in Lauta, dem damaligen Aluminiumwerk „Albert Zimmermann“, aufmerksam gemacht. Es war nur in einem Schwarz-Weiß-Foto dokumentiert. Wie K. Erling hervorhob, ist das vorliegende, 1926 datierte Werk nach dem frühen Auftrag von 1918 für die Glasfenster-Gestaltung im Festsaal der Firma Bahlsen in Hannover „das erste in der traditionellen Art der Bleiverglasung ausgeführte Glasfenster von Adolf Hölzel. Wie der Forschung bisher unbekannt geblieben ist, leitet dieses Fenster Mitte der 20er Jahre eine erneute Auseinandersetzung Hölzels mit dem Medium Farbglas ein. (…) Kurz nach Fertigstellung des Fensters war es in Stuttgart ausgestellt.“ (zit. nach dem Kat. Moderne Kunst, Lempertz Auktion 21. 11. 1992, S. 46/47). Die zeitgenössische Kritik zeigte sich von der Wirkung des kristallinen Werkes mit seiner rhythmisierten, wie metaphysischen Farblandschaft förmlich bezaubert. Hölzel gewichtete die pyramidale Komposition sowohl durch die Farbverteilung wie durch eine verschmelzende Integration von motivisch-figurativen und kosmisch-landschaftlichen Elementen. Das Stuttgarter Tagblatt vom 26. Oktober 1926 kommentierte: „Im Ausstellungsraum der Glasmalerei-Werkstätte von V. Saile, Neckarstraße, ist zur Zeit ein Glasfenster von Hölzel ausgestellt. Es ist herrlich. Hölzel hat seinerzeit mit seinen großen, in der Prachtentfaltung der Farbe ganz aus eigenen Kompositionsprinzipien geschaffenen Glasfenstern für Hannover viel Aufsehen erregt. Nun verwendet er in kleinerem Rahmen seine vielfach neuen und verfeinerten Erfahrungen über das Leben und Wirken der Farbe. (…) Als echte Kinder des Lichtes nehmen diese Farben jeden Strahl der Sonne auf und steigern ihn zu märchenhaftem Glanz. In Stufungen von warmem und kaltem Grün, vollem Rot und kühlem Rosa, dunkelglühenden Tönen und scharfem, hellem Gelb. Das ganze aber bekommt durch blaue Scheiben, die in größeren ovalen Formen mit sicherster Ökonomie verteilt sind, die bestimmende Note, die dieses Glitzern und Funkeln, Leuchten und symphonische Rauschen, schön und beruhigt zusammenfaßt. Es ist meisterlich.“ (Lempertz op.cit., S. 47) Adolf HölzelFenster "Lesende" Leaded glass window, partly painted with black solder 107 x 33 cm Framed (recent lead frame 109 x 36 cm), with hanging device. Dated and inscribed lower right: "Ausgeführt W. v. [Werkstatt von ] A. SAILE STGT. 1926" - Partially with a few minor professional restorations.Venzner G III 1.1 (there erroneously dated "1929", "offenbar nicht erhalten")ProvenanceDr. Willi Fulda, Lauta-Werk, Lausitz; 1947 by inheritance to the previous owner; Lempertz Auktion Moderne Kunst 684, 21 Nov. 1992, Lot 193; Private collection North-Rhine Westphalia; since then in family possessionLiteratureWolfgang Venzmer, Die Glasfenster für Stuttgart und zeitgleiche Pastelle, in: Adolf Hölzel, Leben und Werk, Stuttgart 1982, p. 164-166 with annot. 317 p. 210, illus. p. 273; cfl. Annika Plank, "Farben - Kinder des Lichts", Zu Adolf Hölzels Glasfenstern, in: Kaleidoskop Hoelzel in der Avantgarde, exhib. cat. Kunstmuseum Stuttgart/ Kunstforum Ostdeutsche Galerie, Regensburg, Heidelberg 2009, p. 90 ff., especially p. 92 f.As Katharina Erling has emphasised, Hölzel's window - once believed to be lost - for Dr Willi Fulda's library room at the Lauta factory in the Lusatian town of Lauta is from the important final period of the artist's work, just as the corresponding design also on offer (see lot 191). It is well-known that, at that time, the artist was examining the laws and the effects of colours and forms in light by means of numerous pastels, which actually look like luminous abstract designs for imaginary stained glass windows. His compositions using transparent glass crowned his efforts as an artist. “Because if Hölzel developed an absolute painting entirely out of its own means - in analogy to music - or if, to utilise a different term, he was envisioning a 'musical painting': here his intentions found their purest realisation, here intentions and achievements could become largely congruent” (Wolfgang Venzmer, Adolf Hölzel, op. cit., p. 127). In 1973 Adolf Saile from the Saile workshop in Stuttgart drew the author of the catalogue raisonné's attention to the window in the library room in Lauta, at what was then known as the “Albert Zimmermann” aluminium factory. It was documented only in a black-and-white photo. As K. Erling pointed out, the present work dated to 1926 was - after the early commission of 1918 to design the stained glass in the reception hall of the Bahlsen company in Hanover - “the first stained glass window by Adolf Hölzel carried out in the traditional manner of leaded windows. Scholars have previously remained unaware that this window initiated Hölzel's renewed occupation with the medium of coloured glass in the mid-1920s. […] Shortly after the window's completion, it was exhibited in Stuttgart.” (cited from Kat. Moderne Kunst, Lempertz Auktion 21 Nov. 1992, pp. 46/47).Contemporary critics proved veritably enchanted with the effect of the crystalline work, with its rhythmic, quasi-metaphysical chromatic landscape. Hölzel weighted the pyramidal composition through the distribution of colour as well as an integrative merging of theFull description on lot-tissimo.com

Südniederländischer Meister des späten 15. JahrhundertsDarbringung im Tempel Öl auf Holz. 33,5 x 19,5 cm.ProvenienzHenry Wagner. – Auktion Christie’s, London, 16.1.1925, Lot 59 (als Schule von Gerard David). – Sir Thomas Barlow. – Auktion Sotheby’s, London, 20.7.1955, Lot 57. – H. J. Hellema, Laren.AusstellungenManchester, Whitworth Art Gallery, Juni 1947, Nr. 3. – Flemish Art 1300-1700, London, Royal Academy, 5.12.1952-6.3.1953, Nr. 49 (zusammen mit der "Verkündigung", als Jan Provost). – Schaffhausen, Museum zu Allerheiligen, 1955, Nr. 76. – Laren, Singer Museum, Juli 1961, Nr. 104. – Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, Inv.-Nr. 1101 (Leihgabe).LiteraturMax J. Friedländer: Die Altniederländische Malerei, Bd. IX, Berlin 1931, S. 145, Nr. 127 (nur die anderen drei Tafeln). – Max J. Friedländer: Early Netherlandish Painting. Bd. IXb, Leiden 1972, S. 111, Nr. 127, Abb. Tafel 149. – Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine 79, 1941, S. 156-160. – Monika Brieskorn, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 63-5, Nr. 25, mit Abb. (als Jan Provoost). – Ron Spronk, in: Friso Lammertse (Hg.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam 1994, S. 217-219, unter Nr. 45, S. 218, Abb. b.Diese feine kleine Tafel illustriert die biblische Darstellung der sogenannten Darbringung im Tempel. Die Szene aus dem Evangelium des Heiligen Lukas enthält theologisch zwei ineinander verwobenen Riten des christlich-jüdischen Glaubens, die Beschneidung Christi und gleichzeitig die Reinigung Mariens.Im Vordergrund sind die Protagonisten zu erkennen, Maria und Christus, und rechts daneben der Priester Simeon mit bischöflicher Pluviale und Mitra. Auf der linken Seite ist der Heilige Joseph zu identifizieren. Hinter ihm stehen eine weibliche Gestalt mit zeitgenössischer burgundischer Haube und ein Mann mit Turban-artiger Kopfbedeckung. Im Hintergrund sind an der Kirchenwand Fragmente eines Polyptychons angebracht: ein Bild von Moses mit den Gesetzestafeln, der als Sinnbild für den Alten Bund zu verstehen ist. Ihm wird typologisch Christus als Begründer des Neuen Bundes zugeordnet. In mariologischer Ausdeutung verweist die Moses-Darstellung auf das jüdische Gesetz der mütterlichen Reinigung, dem sich Maria unterworfen hat.Der Maler platziert die biblische Szene in das Seitenschiff einer gotischen Kirche und fasst die Darstellung in eine gemalte architektonische Goldrahmung ein. Anhand dieses gemalten Rahmens wurde die Verbindung unseres Gemäldes mit drei weiteren Tafeln erkannt, die Max Friedländer 1931 publiziert hat (op. cit.). Diese drei Bilder zeigen weitere Szenen aus dem Leben Mariens: Die “Verkündigung” (heute Museum Boijmans Van Beuningen, Rotterdam), die “Geburt Christi” und “Christus erscheint seiner Mutter” - die beiden letzteren befinden sich heute in nicht bekannten Privatsammlungen. Als viertes konnte schließlich das hier vorliegende Bild hinzugefügt und als Bestandteil eines mehrteiligen Marienaltars identifiziert werden. Friedländer schrieb die Bilder dem jungen Jan Provost zu. Auch Grete Ring schloss sich dieser Zuschreibung an (op. cit.). Zur Zeit von Friedländers erster Publikation befand sich die “Verkündigung” noch in einer Berliner Privatsammlung. Nachdem sie vom Rotterdamer Museum erworben wurde, ist die Zuschreibung an Provost überprüft und verworfen worden. Heute wird das Werk einem namentlich nicht bekannten südniederländischen Meister des späten 15. Jahrhunderts zugeordnet, der dementsprechend auch der Maler der vorliegenden Tafel ist. South Netherlandish School late 15th CenturyThe Presentation of Christ in the Temple Oil on panel. 33.5 x 19.5 cm.ProvenanceHenry Wagner;Anonymous sale, Christie’s, London, 16 January 1925, lot 59 (as School of Gerard David);Sir Thomas Barlow;Anonymous sale, Sotheby’s, London, 20 July 1955, lot 57;H. J. Hellema, Laren.ExhibitionsManchester, Whitworth Art Gallery, June 1947, no. 3;Flemish Art 1300-1700, London, Royal Academy, 5 December 1952 - 6 March 1953, no. 49 (with the Annunciation, as Jan Provost);Schaffhausen, Museum zu Allerheiligen, 1955, no. 76;Laren, Singer Museum, July 1961, no. 104;Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, inv. no. 1101 (on loan).LiteratureMax J. Friedländer: Die Altniederländische Malerei, vol. IX, Berlin 1931, p. 145, no. 127 (only the other three panels);Max J. Friedländer: Early Netherlandish Painting, vol. IXb, Leiden 1972, p. 111, no. 127, reproduced plate 149;Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine, LXXIX (1941), pp. 156-160;Monika Brieskorn, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 63-5, no. 25, reproduced (as Jan Provost);Ron Spronk, in: Friso Lammertse (ed.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boijmans van Beuningen, Rotterdam 1994, pp. 217-9, no. 45, pl. 218, fig. b.This small and finely painted panel depicts the Biblical scene known as the Presentation of Jesus at the Temple. The ritual, which is described in the Gospel of Luke, combines two theologically linked rites in Christian and Jewish faith, namely the circumcision of Christ and the purification of the Virgin Mary.The main protagonists of the scene, Mary and Christ, are depicted in the foreground and beside them we see the priest Simeon in a bishop's cope and mitre. Saint Joseph is depicted on the left. Behind him is a figure dressed in a contemporary Burgundian bonnet and a man in a turban-like head covering. In the background we see fragments of a polyptych on the wall of the church, of which one panel depicts Moses with the tablets of the law, which can be regarded as a symbol of the old covenant. Thus, the figure of Christ as the founder of the new covenant forms a typological parallel to this. In the mariological interpretation, the scene signifies the Jewish law of the purification of new mothers that the Virgin complied with.The painter has depicted the Biblical scene taking place in the side aisle of a Gothic church, and surrounds it with a gold architectural motif. This painted surround is what allowed this panel to be linked to three other paintings published by Max Friedländer in 1931 (op. Cit.). The three works also depict scenes from the life of the Virgin Mary: The Annunciation - today in the Museum Boijmans Van Beuningen, Rotterdam -, the Nativity, and Christ appearing to his mother, the latter two are housed in private collections. The present work was identified as a fourth panel from this series and would originally have formed part of a multi-panel altarpiece dedicated to the Virgin Mary.Friedländer attributed this work to the young Jan Provost, and Grete Ring also later agreed with this ascription (op. cit.). At the time of Friedländer's publication, the Annunciation was still housed in a private collection in Berlin. However, following its acquisition by the museum in Rotterdam, the attribution to Provost was re-examined and abandoned. The piece is now attributed to an anonymous southern Dutch master of the late 15th century, who is thus also considered to be the author of the present work.

BERTHOUD, Ferdinand (1727-1807). Essai sur l' Horlogerie; dans lequel on Traite de cet Art Relativement a l' Usage Civil, a l' Astronomie et a la Navigation. Paris: J. Cl. Jombert, Musier [and] Ch. J. Panckoucke, 1763. 3 volumes including plate volume, 4to (258 x 195mm). 38 engraved plates (lacks 2 leaves [iii-vi] of the "Table" at the front of vol. II, some marginal staining to a few leaves in vol. II and to the margins of a few plates). Contemporary tree calf, flat spines decorated in gilt, dark green morocco lettering-pieces (rebacked preserving old spines). Provenance: G. [?]Cuffier (old signature dated 1865 on front free endpapers of all 3 vols.). FIRST EDITION. Brunet I, 365: "Ouvrage le plus estimé que l' on ait sur cet art" (citing the second edition of 1786); Tardy 51. (3)

RAOUL-ROCHETTE, Désiré (1789-1854). Monumens inédits d' Antiquité Figurée, Grecque, Étrusque et Romaine ... Première Partie, Cycle Héroïque. [All published]. Paris: A L' Imprimerie Royale, 1833. Folio (533 x 355mm). Lithographed printer's armorial device on title, armorial on title, 93 engraved and lithographed plates, some folding, a few printed in red, one hand-coloured, illustrations, 2 hand-coloured (one plate detached, variable mainly marginal spotting and staining). Contemporary red morocco-backed marbled boards, spine gilt with 5 raised bands, top edges gilt, others uncut (extremities rubbed). FIRST AND ONLY EDITION of what was to have been a monumental work, impressive in scope and scale even in its unfinished state, on Greek mythology in art, treating of Achilles, Odysseus, and Orestes respectively. Brunet IV, 24: "Le prospectus de ce recueil promettait 200 pl. en 12 livrais., mais il n' a paru que le premier vol. en six livrais., avec 80 planches, dont plusieurs doubles ..."; Lipperheide Bc14.

BELIDOR, Bernard Forest de (1698-1761). Architecture Hydraulique, ou l' Art de Conduire, d' Elever et de Menager les Eaux pour les Différens Besoins de la Vie. Paris: Chez Charles-Antoine Jombert, 1737-53. 2 volumes bound in 4, 4to (287 x 208mm). Engraved fronsipieces in vols. I and IV, engraved portrait of the author in vol. one, titles printed in red and black, engraved vignettes and illustrations, 219 folding engraved plates, tables (occasional very light spotting, staining and browning). Contemporary mottled calf, spines gilt with tan and green morocco lettering-pieces and 5 raised bands, red edges (extremities rubbed, some scuffing). AN EXCEPTIONALLY FINE SET OF THE FIRST EDITION. Brunet I, 279: "Bonne édition d' un ouvrage estimé"; Poggendorff I, 138; Sander 106. (4)

LITERATURE A COLLECTION OF REFERENCE BOOKS, EXHIBITION AND AUCTION CATALOGUES Mostly relating to Asian art, including contemporary Chinese painting, China trade paintings and contemporary Vietnamese art. (41)

New York: Harry N. Abrams for Museum of Contemporary Art, Chicago and New Museum of Contemporary Art, New York, 2001 First edition Col. & b/w illustrations Hardcover with dustjacket

Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage, C-Print auf barytiertem Agfa-Papier. 23,7 x 29,3 cm. Rückseitig mit Bleistift betitelt und beziffert, mit Photographenstempel sowie von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgLiteraturLudwig Windstosser. Fotografie der Nachkriegsmoderne, Ausst.kat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, Abb. 71.Die hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserBlick vom I-Punkt auf die Stadt, Berlin Vintage chromogenic print on Agfa baryta paper. 23.7 x 29.3 cm. Titled and numbered in pencil, photographer's stamp as well as annotated in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgLiteratureLudwig Windstosser. Fotografie der Nachkriegsmoderne, exhib.cat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, ill. 71.Windstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserOhne Titel Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,6 x 22,8 cm. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift bezeichnet.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserUntitled Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.6 x 22.8 cm. Photographer's stamp and inscribed in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserThomasbirne Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,3 x 22,7 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserThomasbirne Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.3 x 22.7 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserKöln Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,4 x 23,2 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserKöln Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.4 x 23.2 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserStahlarbeiter im Ruhrgebiet Vintage, C-Print auf barytiertem Agfa-Papier. 29,4 x 23 cm. Rückseitig mit Bleistift betitelt, beziffert und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgLiteraturLudwig Windstosser. Fotografie der Nachkriegsmoderne, Ausst.kat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, Abb. 42.Die hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserStahlarbeiter im Ruhrgebiet Vintage chromogenic print on Agfa baryta paper. 29.4 x 23 cm. Titled and numbered in pencil as well as photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgLiteratureLudwig Windstosser. Fotografie der Nachkriegsmoderne, exhib.cat. Kunstbibliothek, Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Berlin, Bielefeld 2019, ill. 42.Windstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserZechenturm Vintage, Gelatinesilberabzug hochglänzend auf Agfa-Brovira-Papier. 29,5 x 23,4 cm. Rückseitig mit Bleistift betitelt und mit Photographenstempel.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserZechenturm Vintage ferrotyped gelatin silver print on Agfa-Brovira paper. 29.5 x 23.4 cm. Titled in pencil and photographer's stamp on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

Ludwig WindstosserNiederrhein bei Duisburg Vintage, Gelatinesilberabzug hochglänzend auf Leonar-Papier. 29,5 x 23,3 cm. Rückseitig mit Photographenstempel und von fremder Hand mit Bleistift beziffert.ProvenienzNachlass Bert und Agnes Weißenburg-von Berg, DuisburgDie hier zum Aufruf kommenden Photographien Ludwig Windstossers (Lots 943 - 954) stammen aus dem Nachlass von Bert und Agnes Weißenburg-von Berg, Duisburg, die als Werbefachleute den wirtschaftlichen Aufstieg Deutschlands in der Nachkriegszeit mit begleiteten. Sie waren u.a. für die Gemeinschaftsorganisation Ruhrkohle G.m.b.H. tätig und arbeiteten in dieser Funktion eng mit dem Photographen zusammen. Ludwig Windstosser hatte Bert Weißenburg-von Berg im Jahr 1950 auf der ersten „Photokina“ in Köln kennengelernt. Zwischen 1954 und 1971 standen sie in engem, ja freundschaftlichem Kontakt, u.a. beriet das Ehepaar den Photographen beim Entwurf seiner Photobuchprojekte und Bildbände über Stuttgart und Berlin. In letzterem wurden u.a. auch die beiden hier angebotenen Berlin-Ansichten (Lots 948 und 949) publiziert. Ludwig WindstosserNiederrhein bei Duisburg Vintage ferrotyped gelatin silver print on Leonar paper. 29.5 x 23.3 cm. Photographer's stamp and numbered in an unknown hand in pencil on the verso.ProvenanceEstate of Bert and Agnes Weißenburg-von Berg, DuisburgWindstosser's vintage prints offered here are from the estate of Bert and Agnes Weißenburg-von Berg, Duisburg, who followed Germany's post-war economic rise as advertising professionals working for the Gemeinschaftsorganisation Ruhrkohle G.m.b.H, and in this capacity worked closely with the photographer. Guided by his great passion for art and culture, Bert Weißenburg-von Berg cultivated intensive contacts with contemporary architectural and artistic circles. In 1950 he met Ludwig Windstosser at the first "Photokina" in Cologne. The couple maintained a close, friendly exchange with the photographer between 1950 and 1971, advising him, for example, on the design of his photo book projects and illustrated books about Berlin and Stuttgart. In the latter, the two Berlin views offered here (lots 948 and 949) were published.

δ David Hockney (b.1937)My Pool and TerraceLithograph printed in colours, 1983, signed and dated in pencil, numbered from the edition of 250, as included in the portfolio Eight by Eight to Celebrate the Temporary Contemporary, published by the Museum of Contemporary Art, Los Angeles, on BFK Rives paper, the full sheet printed to the edges, sheet 737 x 1057mm (29 x 41 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A large contemporary wall mirror of rectangular form with bevelled edge plate, within a moulded frame with repeating art nouveau style foliate detail, 138cm x 108cm

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 200cm, geometric sky blue field.

CONTEMPORARY ART DECO DESIGN SILK RUNNER, 500cm x 80cm, geometric sky blue field.

A 1940’s INTERNATIONAL WALES RUGBY UNION JERSEY MATCH-WORN BY BILLY CLEAVER (1921 – 2003) in traditional red with white collar, Prince of Wales feathers embroidered directly on to the jersey, with blue ribbon and ‘ICH DIEN’, bears label for D L Davies’ outlet ‘The Bon’, Swansea (faintly inscribed J W Kyle – please see provenance below), printed black ‘F’ to canvas panel stitched to back, together with a black and white still photograph of Cleaver’s kicking action Auctioneer’s Note: William Benjamin Cleaver was born in Treorchy in 1921. He was known as Billy Cleaver and later by his nickname, ‘Billy Kick’. There is perhaps an unfair perception that the typical Welsh amateur era rugby-player was a man lacking in culture, that their strength and determination came from hard labouring jobs in the collieries and heavy industry. Such a theory was often disproven, especially in the years following the second world war. The famous Welsh backline quartet during that period consisted of Bleddyn Williams, a product of Rydal School, Doctor. Jack Matthews – a physician, Haydn Tanner who attended Harvard Business School and then Billy Cleaver. Cleaver was a graduate of Mining at Cardiff University, he was a wine connoisseur, a tenor and an art enthusiast who later became the Secretary of the Contemporary Art Society of Wales. Cleaver’s nickname ‘Billy Kick’ was a betrayal of his personality and his rugby play, which was as cultured as the man himself. He had a far greater depth to his game than simply kicking. Cleaver was a robust, reliable and charismatic individual.  With his distinguishable mop of blonde hair, he is an unmistakable figure in the team photos from the period - even in black and white. Cliff Morgan in ‘Heart and Soul: The Character of Welsh Rugby’, described one such photograph from the 1950 British Lions tour : ‘Rex Willis, Jack Matthews, Bleddyn Williams, Billy Cleaver and Cliff Davies look like a complete team in themselves; they stand (all much the same size and height whatever their position) with the confidence of gentlemen, some with their hands in their pockets, Bleddyn holding the ball, not unlike a group of army officers who have just won a regimental tour in Penang’. Cleaver was not only cultured and a gentleman of distinction, but he was one of the great utility backs of the early post-war era. He was best known for his defensive play but he had great technical ability in attack, being able to seamlessly take a pass on the move without interrupting the rhythm of play, while then moving the ball on to his outside with elegance, invariably he would then spirit behind his centres to make himself available again in the move. If the ball was dropped or came loose, he regularly scooped the ball effortlessly from his toes before it was turned over to the opposition. As with many naturally gifted sportsmen, Cleaver was not inclined to train too hard. His playing colleagues were staggered that he could muster such emphatic performances in a match while having such a casual approach to the game. He won 14 caps for Wales between 1947 and 1950, winning nine matches and drawing two. His many achievements included the distinction of playing in three different positions against the 1947-48 Wallabies on their tour of Europe and finishing on the winning side each time. He was also an intelligent and very effective pivot in Wales’ Grand Slam of 1950, their first after a thirty-nine-year barren spell. In the same year, he toured Australia and New Zealand with the British Lions, when he played in all three of the New Zealand tests at fullback. One of the old after-dinner stories from the 1950 British Lions tour was that the tourists stopped at Ceylon on their sea-passage home, where they played a one-off match against the national team. Billy Cleaver, much to the amusement of the rest of the party, ended up running the line for the match where he was constantly heckled by the locals to give the score. Cleaver could excel anywhere in the backline, but fly-half is where he enjoyed playing the most. He spent six years at Cardiff RFC primarily as a fly-half, between 1945 and 1951, making 150 appearances. During the Second World War years he firstly played with Billy Darch as his half-back partner for Cardiff, who was replaced when  Haydn Tanner joined the club, and they teamed up in one of the most famous halfback partnerships in rugby history. The 1947/48 season was particularly special at Cardiff, one in which he partnered with Tanner at scrumhalf and with the sublime partnership of Bleddyn Williams and Jack Matthews on his outside. That season was regarded as Cardiff’s best, they scored a remarkable 182 tries in 41 games and lost only twice. In ‘Rugger, My Life’ Bleddyn Williams writes a glowing tribute: ‘Cleaver was a natural footballer; but because people wanted a fly-half moulded on classical lines he was in and out of the Welsh team, playing at centre and full-back as well. But fly-half was his position, and I felt so all the time I was playing there for Wales against England in 1947. If “Billy Kick” had been out half that day I think Wales might have won.’ On his return from the Lions tour of 1950, Cleaver declined an invitation to be captain of Cardiff, instead retiring from the game entirely at the age of 29, to pursue further his career in mining. By the young age of 28 years of age, he had already become manager of North Celynen Colliery in Monmouthshire, eventually becoming a Deputy Director of the South Wales Coalfield. His premature retirement was a great loss to Welsh Rugby. But it was typical of the man who regarded rugby casually, as just another of his many interests and talents. He did however come back to figure at scrumhalf for the Lions against his beloved Cardiff to commemorate their 75th anniversary in 1951, partnering with Jack Kyle for one of the most spectacular games in post war rugby. Provenance: consigned in Ireland, from the collection of the late Jack Kyle OBE (1926 - 2014), one of Ireland's most famous players. The two players swapped jerseys on one of the occasions that they faced each other in 1947 or 1949 before the Wales team used a numbering system. The two players became good friends on tour with the British Lions where ‘he and Jack Kyle were as loth to appear at training periods as modern players are to pass the ball out in their own “25”….both their names will never be forgotten in the history of Rugby football.’ (Rugger, my life; Bleddyn Williams; Anchor press, 1956) Condition Report: one of the two buttons missing, faded printed ‘F’ on panel, small area of fading on back down spine, one small stitching repair on back which is believed to have been done during playing days, a few small blemishes but not serious, structurally no problems, in excellent condition overall, it has not been displayed so generally not faded and without pinholes or long-term folds

Rosemary Abrahams (British c.1945-): 'North Wind', oil on canvas, signed and titled verso 90cm x 120cm (unframed)Provenance: purchased from the 'Biscuit Factory' Contemporary Art Gallery, Newcastle upon tyne - Condition Report

DENIS MATHEWS (1913 - 1997) oil on canvas - study of a green parrot perched amongst flowers on a dish, unsigned, 32 x 40cms Provenance: private collection Buckinghamshire, purchased by vendor from the artist's retrospective sale in Machynlleth in 1990s, the artist's partner referred to the painting as 'Dora Carrington's Parrot' Auctioneer's Note: Denis Mathews (1913 - 1997) was a well-known painter, printmaker, draughtsman and art critic. He was born in London, son of the Canadian artist Richard George Mathews, and studied at the Slade School 1930-33 and 1935-36. He exhibited with The London Group, Redfern Gallery and Agnews, and had his first one man show in 1947 at The Leicester Galleries. Mathews was secretary of The Contemporary Art Society 1945-56 and he illustrated 'A Book of Burgundy' by Pierre Poupon and Pierre Forgeot, published in 1958. His work is represented in several public collections, including The Tate Gallery, Imperial War Museum and the Government Art Collection. He lived at Felin Bach in Brecon and signed his work simply 'Denis'. His first show was with Christopher Wood. The artist was particularly famous for his early paintings in Bali and when he stayed at chinese cotton co-operative during the Maoist era Presentation & Condition: painting in good condition, in old untidy frame, re framing recommended

Claudio Acquaviva. Ratio atq(ue) Institvtio Stvdiorvm Societatis Iesv. Svperiorvm permissv. Mainz, Balthasar Lipp, 1600. Titelblatt mit Wappen des Jesuitenordens, 2 Bl., 187 S., 1 weißes Bl., 20 Bl. Index. Vorgebunden II.: (Ignatius von Loyola). Regvlae Societatis Iesv. Dillingen, Johann Mayer, 1599. Titelblatt mit dem Wappen der Jesuiten, 306 S., 1 Bl. Index, 1 weißes Bl. Kl.-8°. Flexibler Pergamentband der Zeit auf drei durchgezogenen Bünden u. Farbschnitt, Deckel und Rücken mit doppelter Streicheisenfilete geziert (etwas fleckig, Schließbänder entfernt). I.: De Backer/Sommervogel I, 488, 14. - USTC 68 9851. - VD16 ZV-59. - Deutsche Erstausgabe dieses Meilensteins in der Geschichte des Bildungs- und Erziehungswesens. Die Ratio Studiorum ist ein Leitfaden oder eine Anleitung zum Lernen, eine Art Studienordnung für Jesuitenschulen, von denen um 1600 bereits über 1000 weltweit existierten. Unter dem Ordensgeneral Claudio Acquaviva (Atri/Neapel 1543-1615 Rom) wurde dieser maßgebliche Leitfaden in einem Zeitraum von fast 20 Jahren ausgearbeitet und 1599 in seiner endgültigen Form zuerst in Neapel veröffentlicht. Zeitgleich mit einem Druck in Dillingen wurde die hier vorliegende Studienordnung, gedruckt in Mainz im Jahr 1600, zum ersten Mal in Deutschland und zum ersten Mal außerhalb Italiens veröffentlicht und blieb bis zur Ordensaufhebung 1773 in Kraft. Die Ratio Studiorum zeichnet sich durch Einheit, Festigkeit und Klarheit in Ziel und Mitteln sowie durch planmäßige Ordnung in Ausbildung der geistigen Fähigkeiten der Schüler aus. Sie ist kein systematischer Aufbau des Erziehungs- und Unterrichtswesens an den Jesuitenkollegien, sondern bietet den Lehrstoff und die Lehrmethoden in Form einer Sammlung von praktischen Regeln für die Leiter der Universitäten und Gymnasien und deren ausführende Organe. - II.: De Backer/Sommervogel V, 103. - USTC 690506. - VD16 I-51. - Späte Ausgabe der Ordensregeln der Gesellschaft Jesu (Societas Jesu, Ordenskürzel: SJ), die aus einem Freundeskreis um Ignatius von Loyola entstand und am 27. September 1540 päpstlich anerkannt wurde. Diese detaillierten Satzungen (Constitutiones oder Regulae an Stelle einer Ordensregel) wurden erst nach der Ordensgründung hauptsächlich von Ignatius erarbeitet und 1558 in Kraftgesetzt. - Frontsteg von beiden fliegenden Blättern und erstes Titelblatt mit Fehlstelle ohne Textverlust. Beide Spiegel mit alten, handschriftlichen Besitzvermerken eines adligen Vorbesitzers des 18. Jahrhunderts. Beide Titelblätter mit handschriftlichen Einträgen. Exlibris und drei Stempel einer privaten Bibliothek. I: German first edition of this milestone in the history of education and training. The Ratio Studiorum is a guide or instruction for learning, a kind of study regulation for Jesuit schools, one of the over 1000 existing worldwide around 1600. Under the General Claudio Acquaviva (Atri/Naples 1543-1615 Rome) this authoritative guide was elaborated over a period of almost 20 years and first published in its final form in Naples in 1599. At the same time as it was printed in Dillingen, the present Plan of Studies, printed in Mainz in 1600, was published for the first time in Germany and for the first time outside Italy, and remained in force until the Order was abolished in 1773. The Ratio Studiorum is characterised by unity, firmness and clarity of purpose and means as well as by a planned order in the training of the intellectual abilities of the students. It is not a systematic development of the educational system at the Jesuit colleges, but offers the teaching material and methods in the form of a collection of practical rules for the directors of the universities and for the Gymnasia. - II: Late Edition of the Rule of the Society of Jesus (Societas Jesu, order abbreviation: SJ), which originated from a circle of friends around Ignatius of Loyola and was pontifically recognised on September 27th 1540. These detailed statutes (Constitutiones or Regulae instead of a rule of the Order) were worked out only after the foundation of the Order mainly by Ignatius and became effective in 1558. - Contemporary vellum on 3 raised bands with coloured edges and with blind tooled fillets to board and spine (somewhat stained, clasps removed). - Margin of both flyleaves and first title page with missing part without loss of text. Both pasted down endpapers with old, handwritten ownership notes of a noble previous owner of the 18th century. Both title pages with handwritten entries. Exlibris and three stamps of a private library.

A GREAT WAR CASUALTY PAIR OF MEDALS TO PRIVATE B.J. ROWE, 15TH BN CANADIAN INFANTRY comprising the British War Medal 1914-20 and Victory Medal (both 192866 Pte. B.J. Rowe. 15-Can. Inf.), officially impressed, unmounted; together with a trench art paper-knife, the blade engraved 'Battle of Somme July 1916'; a quantity of photographic and other postcards, some of Wellington O.T.C. interest; and two Red Cross letters relating to his death. Note (1): 192866 Private Bernard John Rowe, 15th Battalion, Canadian Infantry, died on 26th September 1916. He is remembered with honour on the Vimy Memorial. Note (2): A contemporary newspaper cutting, which accompanies the lot, adds that Bernard Rowe was the son of Mrs Row of Clifford Terrace, Wellington (Somerset), and the late Mr James Rowe, for many years headmaster of the Courtland Road Boys' School. Upon leaving school Bernard was apprenticed to a jeweller in Fore Street, before emigrating to Canada at the age of twenty. In 1915 he joined t

NO RESERVE Modern & Contemporary Art.- Livingstone (Marco) Paula Rego, signed by the artist, original wrappers, Madrid, 2007 § Vanessa Beecroft: Performances 1993-2003, signed by the artist, Milan, 2003 § Rewald (S.) Balthus, New York, 1984 § Manolo Valdés: Pintura y Escultura, Bilbao, 2002 § Suarez (Ruben) & others. Daniel Quintero: Pinturas y Dibujos, Oviedo, 1997 § Honnef (K.) Contemporary Art, Cologne, 1988, illustrations, many colour, all but the first original cloth or boards with dust-jackets; and c.45 others on modern and contemporary art, some catalogues, 4to (c.50)

Modern British Art.- Heller (Robert) Peter Howson, signed by the author and by Howson with signed sketch on title, 2003 § Jahn (Wolf) The Art of Gilbert & George..., 1989 § Hughes (Patrick) Left to Write: Collected Writings, signed by the author, 2008 § Arwas (Victor) & others. Graham Ovenden, 1987 § Hayes (John) The Art of Graham Sutherland, Oxford, 1980 § Hicks (A.) The School of London: the Resurgence of Contemporary Painting, Oxford, 1989 § Seipel (W.) & others. Francis Bacon and the Tradition of Art, Vienna, 2004 § Bell (Keith) Stanley Spencer, 1999, illustrations, many colour, the last two original wrappers, the rest original cloth or boards with dust-jackets, the fifth rubbed; and a quantity of others on modern and contemporary British art, many catalogues, v.s. (c.100)