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Click here to subscribeA Leica M9 Digital Rangefinder Camera,2011, steel grey, serial no. 3906994, body, VG, powers up & shutter working, complete with battery, charger, instructions and maker's box.NOTE: The sensor has signs of corrosionNote: This lot incurs VAT, due to being imported into the UK, at a preferential rate of 5% on Hammer Price and the prevailing rate of 20% on Buyer's Premium. This is not applicable to bidders if Flints exports this lot outside of the UK.
A Leica CL Rangefinder Camera,1973/74, black, serial no. 1332756, with Leitz Summicron-C f/2 40mm lens, 1974, black, serial no. 2706763, body, VG, shutter working, lens, G-VG, some internal haze, complete with Minolta M-Rokkor f/2.8 28mm lens, 1974, black, serial no. 2019878, body, G-VG, elements, F-G, heavy internal haze, and a Minolta M-Rokkor f/4 90mm lens, 1974, black, serial no. 2012197, body, VG, elements, VG, Leica LC body and standard lens in maker's box. Note: This lot incurs VAT, due to being imported into the UK, at a preferential rate of 5% on Hammer Price and the prevailing rate of 20% on Buyer's Premium. This is not applicable to bidders if Flints exports this lot outside of the UK.
An early 20th century Arts & Crafts silver and jade goblet by Omar Ramsden and Alwyn Carr, London 1913, the conical jade bowl above a slender stem with spot hammer finish, chased with urn and the motto 'THE WINE OF LIFE KEEPS OOZING DROP BY DROP', on a circular pedestal foot, engraved inside 'Omar Ramsden et Alwyn Carr me fecerunt MCMXIII', 17.5cm high
An early 20th century Arts & Crafts silver and jade goblet by Omar Ramsden and Alwyn Carr, London 1913, the jade bowl above a chased lobed stem with spot hammer finish, engraved with the motto 'BETTER BE JOCUND WITH THE FRUITFUL GRAPE', on a circular spreading foot, engraved inside 'Omar Ramsden et Alwyn Carr me fecerunt MCMXIII', 13cm high, the bowl 10cm diameter
H E Hervey RMS, seven miniature diorama 'Nature Studies' in convex glass frames. All titled on artist's label verso. Comprising two larger dioramas 'Swallows', signed and dated 1979, 'Wood-Pigeons', both 13cm diameter overall, and five smaller examples, 'Greenfinch', 'Goldfinch', 'Blackbird', 'Yellow Hammer', 'Bullfinch' each 8.5cm.
A Puiforcat silver beaker, 925 standard, 1983-1992, in original box and engraved with the name 'Louis' to side, 7.2cm high, together with a German christening cup by Wilkens, stamped 925, of cylindrical form, also with 'Louis' engraved to body, 10.9cm high, total weight approx. 9.9oz (2) (VAT charged on hammer price) Please refer to department for condition report
ARTHUR SEGAL (1875-1944)Blumen im Garten signed and dated 'A. Segal 1910' (lower left); signed and inscribed ''Blumen im Garten' M. 00 A. Segal Charlottenburg Demburgstr 52' (on the reverse)oil on board39.4 x 61.6cm (15 1/2 x 24 1/4in).Painted in Berlin in 1910Footnotes:ProvenancePrivate collection, US (acquired in Germany in the 1950s); their sale, Susanin's, Chicago, 9 December 2020, lot 6172.Private collection, US (acquired at the above sale).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
LOVIS CORINTH (1858-1925)Dame im Salon signed and dated 'Lovis Corinth 1917' (upper left)oil on canvas100 x 80cm (39 3/8 x 31 1/2in).Painted in 1917Footnotes:ProvenanceWilhelm Döring Collection, Szczecin.Muzeum Narodowe, Szczecin. Private collection, Germany. Thence by descent to the present owner.ExhibitedBerlin, Berliner Secession 1918, October - December 1918, no. 126.Dresden, Galerie Ernst Arnold, Deutsche Malerei im 19. Jahrhundert, 27 September - 10 November 1918, no. 32. LiteratureC. Berend-Corinth, Lovis Corinth, die Gemälde Werkverzeichnis, Munich, 1992, no. 699 (illustrated p. 702).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MAX PECHSTEIN (1881-1955)Bildnis Charlotte Cuhrt signed and dated 'Pechstein 1910' (lower left)oil on canvas175.8 x 85.4cm (69 3/16 x 33 5/8in). shapedPainted in 1910Footnotes:ProvenanceMax Cuhrt Collection, Berlin (commissioned from the artist in 1910).Private collection, Germany (by descent from the above).Private collection, Europe (acquired from the above in 2008).Anon. sale, Ketterer, Munich, 11-13 June 2015, lot 221.Private collection, Switzerland (acquired at the above sale). ExhibitedBerlin, Galerie Maximilian Macht, Neue Secession, III. Ausstellung, February - April 1911, no. 33 (titled 'Bildnis L.C.').Vienna, Österreichische Galerie Belvedere, 2009-2014 (on loan).LiteratureJ. Sievers, 'Die Neue Sezession in Berlin', in Der Cicerone, no. 3, 1911, p. 178. A. Soika, Max Pechstein, Das Werkverzeichnis der Ölgemälde, Vol. I, 1905-1918, Munich, 2011, no. 1910/62 (illustrated p. 275).A. Soika, 'Max Pechstein's Rahmen', in Unzertrennlich, Rahmen und Bilder der Brücke-Künstler, exh. cat., Berlin, 2020, pp. 430-431 (illustrated p. 431).Uniting his dynamic Expressionistic style with the luxurious design and architecture of pre-war Berlin, Max Pechstein's Bildnis Charlotte Cuhrt stands as a testament to familial love, creative collaboration, and a city at the precipice of artistic revolution. In 1910, Berlin was in a state of flux. Having recently become the capital of the newly unified Germany in 1871, the city held an aura of optimism and ambition, as booming innovations in science, medicine and technology brought with it a rapidly growing population and economy. New buildings in a grandiose, Neoclassical style sprung up in Berlin's affluent neighbourhoods, while participants of the city's vibrant nightlife enjoyed opportunities to revel, re-identify, and exchange ideas with Berlin's coterie of avant-garde thinkers. This burgeoning Weltstadt ('World City') – thriving before the decades of war and catastrophe that would soon take hold – was therefore a metropolis of contradictions, one in which the young Max Pechstein found his footing as a stalwart of Expressionism and its subgroups.Having recently completed his studies at the Royal Art Academy in Dresden, Pechstein met the artist Erich Heckel in 1906, who was captivated by the vitality and chromatic intensity of Pechstein's works. Heckel invited Pechstein to join Die Brücke ('The Bridge'), a newly established collective of young German artists seeking to establish links between the primordial and primitive on one hand and the conceptual and radical on the other. Together with his energetic peers – among them Karl Schmidt-Rottluff, Ernst Ludwig Kirchner and Emil Nolde – Pechstein's creative experiments came to define Expressionism, a fluid term denoting the depiction of intense emotion through non-naturalistic forms and highly saturated colours. In this, Die Brücke were directly influenced by the Fauves ('Wild Beasts'), a movement catalysed by the shocking experiments in colour and form by Henri Matisse, André Derain and other members. Pechstein was first exposed to Fauve art in 1908 at the Salon des Indépendants in Paris, thence forming a friendship with Kees van Dongen, whose mastery as a colourist further liberated Pechstein and Die Brücke's emphases on chromatic supremacy.In 1906, the young Pechstein – then enjoying the first blushes of artistic success – also drew the attention of the architect Bruno Schneidereit, who saw his works at the Third German Decorative Arts Exhibition in Dresden. Following this meeting was a series of fruitful collaborations between Pechstein and Schneidereit, within which Pechstein would create designs to accompany Schneidereit's plans for opulent apartment buildings in Berlin's wealthy neighbourhoods. Pechstein in turn completed a series of portraits of the architect: Männerbildnis – Bruno Schneidereit (The Courtauld Gallery, London) echoes the vigorous handling and bold palette of Bildnis Charlotte Cuhrt. Through his friendship with Schneidereit, Pechstein was introduced to Max Cuhrt, a magistrate secretary who with Schneidereit became one of Pechstein's foremost patrons. With Pechstein's new studio space in a Schneidereit-designed building in Charlottenburg, and the financial backing of these two benefactors, Pechstein was given the means through which to fully delineate his highly influential style.Bildnis Charlotte Cuhrt, an exquisite full-length portrait depicting Max Cuhrt's daughter, was commissioned at the height of Pechstein's involvement with Die Brücke. A symphony of vibrant, seductive colour fields and dynamic brushwork, the portrait truly exemplifies Pechstein's proficiency as a colourist, one who deftly juxtaposes complementary and opposing tones to conjure up emotive tension. Looking out earnestly with the slightest hint of a smile, Charlotte Cuhrt radiates with the optimism and naïveté of youth. The crimson of her dress bleeds out into the rich carpet, whose striking yellows and greens – favoured tones of the Fauves and the Expressionists – are mirrored in her blonde hair, as well as the chair and the wardrobe beyond. The arch-like structure of the picture was formatted so that the portrait could be affixed to a Schneidereit-designed piece of furniture in the family's Berlin apartment. Standing alone, however, this shape imparts a certain spiritual intensity, framing Charlotte within a domestic altar. The portrait thereby stands a statement of utmost devotion to familial love and the beauty of youthful innocence.In his designs for the Cuhrt family's apartment, Schneidereit's aim was to create a spectacular Gesamtkunstwerk, or total sensory artwork. A foundational concept appearing across many Modernist movements – from Art Nouveau to Arts and Crafts – this design goal was espoused by the Wiener Werkstätte ('Vienna Workshop'), who encouraged collaborations between furniture and interior designers with fine artists and architects. Aesthetic harmony between all facets of a building – its accessories, furnishings, textiles, wallpaper and architectural plans – took hold in palaces, villas and government buildings across twentieth century Europe. In the present work, Schneidereit's architectural endeavours are illustrated in the grand, Neoclassical wardrobe behind Charlotte, as the exterior of the home becomes inseparable from its interior. Furthermore, this element generates an off-centre caesura, as the portrait's asymmetrical composition highlights not just the sitter but the design elements of the home with a strictly Modern sensitivity. The blank yet vivid green wall holds as much dramatic force as the carpet, wardrobe and protagonist.The summer of 1910 was a particularly productive period for Pechstein, especially concerning his depiction of human bodies and psychological states. Sunning by the lakes of Moritzburg near Dresden with his friends Heckel and Kirchner, Pechstein completed a range of nudes and portraits of the people he met there, relishing the fact that they were not professional models who were constrained by habitual studio poses. In harmony with their surroundings, the three Die Brücke artists traded techniques and philosophies that culminated in some of their most raw and intense masterworks. In Pechstein's 1910 painting, Mädchen auf grünem Sofa mit Katze (Museum Ludwig, Germany), Pechstein captures the sitter Marzella Sprentzel's gentle innocence as she lounges, her gaze a... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ALEXEJ VON JAWLENSKY (1864-1941)Variation signed with the artist's initials 'A.J.' (lower left)oil and pencil on linen-finish paper laid down on board36 x 27.5cm (14 3/16 x 10 13/16in).Painted circa 1916Footnotes:The authenticity of this work has been confirmed by the Alexej von Jawlensky-Archiv. This work will be included in the forthcoming supplement to the Alexej von Jawlensky catalogue raisonné, published in the fourth volume of Bild und Wissenschaft. Forschungsbeiträge zu Leben und Werk Alexej von Jawlenskys.ProvenanceElisabeth (Lisa) Kümmel Collection (acquired directly from the artist).Viktoria Regener-Mintschina & Prof Erich Regener Collection, Berlin and Stuttgart (a gift from the above in 1932).Erika Rathgeber (née Regener) & Henri Rathgeber Collection, Stuttgart and Sydney (by descent from the above).Cornelia Helene Findlay Collection (by descent from the above in 1996).Thence by descent to the present owners.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
FRIEDRICH KARL GOTSCH (1900-1984)Die alte Marinestation, Friedrichsort signed with the artist's initials 'FKG' (upper right); signed, inscribed and dated 'Die alte Marinestation (Fr'ort) F.K. Gotsch 1930 Spi' (on the reverse)oil on burlap60.3 x 81.2cm (23 3/4 x 31 15/16in).Painted in 1930 (and later in the 1950s)Footnotes:ProvenanceMusée du Petit Palais, Geneva, no. 156 (acquired directly from the artist in 1964). Private collection, Switzerland (by descent from the above).ExhibitedGrömitz, Schloss Gottorf, Friedrich Karl Gotsch, 1900–1984: Gemälde aus der Sammlung des Petit Palais Genf, 2 December 1984 – 24 February 1985.Geneva, Musée du Petit Palais, Rétrospective F.K. Gotsch (1900-1984), 15 November 1985 - 28 February 1986.LiteratureP. Goeritz, M. Leuba & C. Rathke, Friedrich Karl Gotsch 1900-1984, Werkverzeichnis der Gemälde, Neumünster, 1993, no. 178 (illustrated p. 78).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GEORGES KARS (1882-1945)Das Gespräch (In der Loge) signed and dated 'Kars 13' (upper left)oil on canvas 40.8 x 33.6cm (16 1/16 x 13 1/4in).Painted in 1913Footnotes:The authenticity of this work has been confirmed by Rea Michalová.ProvenanceArnold Blome Collection, Bremen.Kunsthandel Uwe Michael, Bremen (acquired from the above). Private collection, Bremen (acquired from the above).ExhibitedMunich, Galerie Neue Kunst – Hans Goltz, Georg Kars: Gemälde und Zeichnungen, 26 October - 15 November 1913, no. 44 (titled In der Loge).Bremen, Kunsthandel Uwe Michael, 1979.Georges Kars was born to a German Jewish family, near Prague, in the Czech Republic in 1882. In 1899, he left for Munich where he befriended Paul Klee, Wassily Kandinsky, Eugen von Kahler and Jules Pascin, also studying with Franz von Stuck. With them, Kars would discuss and debate about Impressionism which had been dominating artistic circles, but now appeared to have limited expressive possibilities. Indeed, Impressionism sought to represent the subject with a realism based on the study of light, whereas Kars and his circle sought a way to represent an inner subjectivity.When Kars arrived in Paris in 1908, he moved to Montmartre, where he spent time with Marc Chagall, Suzanne Valadon, Maurice Utrillo, and Max Jacob. Around them, his work absorbed a Cubist influence but maintained an Expressionist sensibility. Gespräch (In der Loge) depicts a conversation between a man and a woman at the opera in evening dress, but the sharp angles and dramatic colour palette set a strange atmosphere of unease, reflected by the couple's pallid complexions. Their faces and bodies are distorted and exacerbated by diagonal lines that challenge the stability of the work, annihilate perspective, and create a dizzying sense of vertigo.During World War II, after Germany occupied Paris, Georges Kars left for Lyon, and then to Switzerland. After receiving news of the deaths of relatives, he committed suicide in 1942. To this day, Georges Kars remains an important figure of the Montmartre Avant-Garde and of Czech modern artists.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
CHAÏM SOUTINE (1893-1943)La femme en rouge au fond bleu signed 'Soutine' (lower right)oil on canvas75.4 x 55cm (29 11/16 x 21 5/8in).Painted circa 1928Footnotes:ProvenanceJos Hessel Collection, Paris.Jacques Laroche Collection, Paris.Georges Keller Collection, New York and Davos (acquired by 1943).Carroll Carstairs Gallery, New York (acquired by 1949).Mr & Mrs Walter Ross Collection, New York (acquired from the above by 1957); their collection sale, Parke-Bernet Galleries, New York, 21 October 1964, lot 38.McRoberts & Tunnard Gallery, London (acquired at the above sale).Perls Galleries, New York (acquired by 1967).Alex Maguy, Paris (acquired by 1972, until 1973).Private collection, Japan; their sale, Sotheby's, New York, 5 November 1981, lot 233.Perls Galleries, New York (acquired at the above sale).The Roland Collection (acquired from the above in 1985); their sale, Dorotheum, Vienna, 24 November 2020, lot 12.Acquired at the above sale by the present owner.ExhibitedNew York, Bignou Gallery, A Selection of Paintings of the Twentieth Century, 8 February - 20 March 1943, no. 16 (titled 'The Red Dress').New York, Bignou Gallery, Exhibition of Paintings by Soutine, 22 March - 16 April 1943, no. 15 (titled 'The Red Dress').Montreal, Montreal Museum of Fine Arts, Manet to Matisse, An Exhibition of 19th and 20th Century French Paintings, 27 May - 26 June 1949, no. 39 (titled 'Femme en rouge' and dated 1932).New York, Perls Galleries, 24 Major Acquisitions, 27 February - 6 April 1968, no. 21 (titled 'Jeune femme au fond bleu').New York, Perls Galleries, Chaïm Soutine (1893-1943), 11 November - 13 December 1969, no. 18.Paris, Alex Maguy, Présence de la peinture, 2 June - 12 July 1972.Tel Aviv, Tel Aviv Museum of Art, 1996.LiteratureConnoisseur, vol. 172, no. 693, November 1969 (illustrated p. ccxvii).P. Courthion, Soutine, peintre du déchirant, Lausanne, 1972, fig. B (illustrated p. 258; titled 'La femme du cordonnier II' and dated 1926-1927).A. Soutine, Journal de l'amateur d'art, 1973 (illustrated p. 14).Exh. cat., The Evelyn Sharp Collection, New York, 1978, p. 90.M. Tuchman, E. Dunow & K. Perls, Chaïm Soutine (1893-1943), Catalogue Raisonné, Vol. II, Cologne, 2001, no. 123 (illustrated p. 692).IFAR Journal. vol. 10, no. 3/4, 2008/2009, p. 57 (illustrated on the inside back cover).In La femme en rouge sur fond bleu, Chaïm Soutine portrays a woman with unparalleled emotion and intimacy. Despite the artist's choice to leave the sitter anonymous, he renders her familiar to anyone as he translates raw emotions onto the canvas. The present work is the quintessence of Soutine's portraits: it blends the most important colours in Soutine's work (red and blue) and brings together the artist's modern and traditional artistic influences in a consummate psychological portrait.Chaïm Soutine was born in 1893 in Smilovitchi, a small town of the Russian Empire mainly populated by observant Jews. At the age of thirteen, he secretly drew a portrait of the village rabbi, transgressing the ban on depicting the human face, and was beaten by the rabbi's son for it. He spent two weeks in hospital, and the Soutine family obtained twenty-five roubles in compensation which enabled him to leave the Smilovitchi ghetto and the painful childhood memories he had there. Soutine used the money to take drawing classes in Minsk, before enrolling at the Vilnius School of Fine Arts. He then arrived in Paris in 1912 and moved to La Ruche (The Beehive), a hub of artist studios whose name came from its cylindrical shape where low studio rent and free models attracted many artists who had recently emigrated to Paris with little money. Among others, Marc Chagall, Ossip Zadkine, Alexander Archipenko, Constantin BrâncuÈ™i, and Diego Rivera, would come and stay at La Ruche, which soon became the epicentre of the École de Paris, a term that paradoxically came to designate the scene formed at the beginning of the 20th century and until the Second World War by artists from all over the world, who converged in the French capital. Soutine had no resources and worked as a labourer in a Renault factory and at the Grand Palais to make ends meet. In 1914, an incurable stomach ulcer prevented him from being mobilised, despite his desire to do so. In 1915, Soutine met Amedeo Modigliani and the two artists formed a solid friendship that would withstand all odds. In 1916, Modigliani introduced him to his dealer Léopold Zborowski, who would go on to also represent Soutine. Zborowski financed Soutine's career and trips to the South of France, in Céret, Cagnes and Vence, but without commercial success.Modigliani's death in 1920 was a terrible setback for Soutine. His physical and mental health deteriorated drastically and he chose to live apart from the artistic community. For almost two years, he painted intensely and kept a very close circle of friends and relationships; mainly Zborowski and Paulette Jourdain, Zborowski's assistant and former model of Modigliani. Jourdain became an important friend, confidante, and model for Soutine. It is almost certain that she is the sitter for La femme en rouge sur fond bleu.Jourdain, who also sat for André Dunoyer de Segonzac, Ossip Zadkine, and Moïse Kisling, was the model for one of Modigliani's very last portraits in 1919. It is highly likely that Soutine was inspired by the Portrait de Paulette Jourdain, which bears many similarities with La femme en rouge sur fond bleu, such as the same fontal position, stately manner, and clasped hands.In 1922, the American collector Albert Barnes noticed the artist's work and bought almost a hundred paintings from Soutine, who became rich and famous overnight. He was now an established painter and had a daily salary of 25 francs from Zborowski, with a car and a driver, and became a fashionable and eccentric Parisian. And yet, despite his newfound introduction to bourgeois society, Soutine became preoccupied with the still-life genre, surrounding himself with dead carcasses in his studio to paint his celebrated series of BÅ“ufs écorchés (Slaughtered oxen, circa 1925). He would visit slaughterhouses to buy dead carcasses of oxen to hang in his studio to paint. Soon the flies swarmed, and the neighbours complained about the smell. Paulette Jourdain recalls that when the police turned up, Soutine hid, terrified. But Jourdain defended the painter, arguing that his work was not done and that he needed to keep them for a while longer. She would sit for portraits for Soutine next to these dead carcasses in the studio while he painted her and would endure the smell and the flies for hours. Indeed, there are strong connections between Soutine's masterpiece of the Carcasse de bÅ“uf (1925) and the present work: they share the same vivid palette, with the main subject painted in red hues and standing out against a blue background with impassioned brushstrokes that unbalance the perspective and stability of the scene. Both subjects occupy the centre of similar-sized canvases, while the colour and treatment of the flesh and blood of the flayed ox recalls that of the sitter's skin and dress. In the words of Cynthia Zarin, 'like Caravaggio, who painted some of the most disturbing and beautiful pictures in the world, and whom these portraits call to mind, Soutine was interested in the agencies of the flesh. In the snarl of paint on the canvas, you can feel his hand on the brush' (C. Zarin, 'The Time Travelling Portraits of Chaïm Soutine' in The New Yorker, 21 March 2018, n.p.). Moreover, like the BÅ“ufs écorch&... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GEORGE GROSZ (1893-1959)Stehender weiblicher Akt stamped with the artist's estate stamp and inscribed '2 27 5' (on the reverse)pen and India ink on paper32 x 23.5cm (12 5/8 x 9 1/4in).Executed in 1914Footnotes:The authenticity of this work has been confirmed by Ralph Jentsch. This work will be included in the forthcoming George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceThe artist's estate, no. 2 27 5. Anon. sale, Karl & Faber, Munich, 29 May 2008, lot 1004.Galerie Michael Pabst, Munich.Private collection, Vienna.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GEORGE GROSZ (1893-1959)Alfred Meyer, Munkepunke Dionysos. Groteske Liebesgedichte, Fritz Gurlitt, Berlin, 1921 each signed in pencilthe complete book comprising six lithographs 29.1 x 24.2cm (11 7/16 x 9 1/2in). (Folio) (6)From the edition of 100, copy number 37/100, with the title page, justification and text in German, within the original green wrappers, bound (as issued)Footnotes:LiteratureA. Dückers, George Grosz: Das druckgraphische Werk, Frankfurt, Berlin & Vienna, 1979 (no. B1).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MAX OPPENHEIMER (1885-1954)Milena signed 'Mopp' (lower right)red chalk on paper41.9 x 33.4cm (16 1/2 x 13 1/8in).Executed in 1935Footnotes:ProvenanceGalerie Michael Pabst, Munich.Private collection, Vienna.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MAX BECKMANN (1884-1950)Stadtnacht, 1920 each signed in pencil, numbered 'LXXXIV' on the coverthe complete portfolio comprising seven lithographs, on thin laid Japan31 x 24.5cm (12 3/16 x 9 5/8in). (Folio) (7)From the deluxe edition of 100, with title-page, loose (as issued), printed by Dr C. Wolf & Sohn, Munich, published by Piper Verlag, Munich, with the original paper mounts and portfolioFootnotes:LiteratureJ. Hofmaier, Max Beckmann, Catalogue Raisonné of his Prints 1, Bern, 1990 (no. 164-170).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
HEINRICH CAMPENDONK (1889-1957)Sitzender Harlekin, 1922 signed in pencilwoodcutSheet 49.9 x 39.8cm (19 5/8 x 15 11/16in).This work is from the edition of circa 40, printed by the artistFootnotes:ProvenanceGalerie Michael Pabst, Munich.Private collection, Vienna.LiteratureM. Engels, Heinrich Campendonk, Germany, 1958 (no. 59).G. Söhn, Heinrich Campendonk: Das graphische Werk, Dusseldorf, 1996 (no. 59).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
FRIEDRICH KARL GOTSCH (1900-1984)Abkehr (Erinnerung an ein Jugenderlebnis) signed with the artist's initials 'FKG' (lower left) and further signed, inscribed and dated 'Gouache - 'Abkehr' (Erinnerung an ein Jugenderlebnis) - FK Gotsch 1964 (8)' (lower margin)gouache and watercolour on card57.5 x 72.9cm (22 5/8 x 28 11/16in).Executed in 1964Footnotes:ProvenanceMusée du Petit Palais, Geneva, no. 10055 (acquired directly from the artist in the 1960s). Private collection, Switzerland (by descent from the above).ExhibitedEssen, Museum Folkwang, Friedrich Karl Gotsch, 1900-1984: Aquarelle, Zeichnungen, Druckgraphik, 17 December 1989 – 4 February 1990.Grömitz, Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Kloster Cismar, F.K. Gotsch, Aquarelle und Gouachen: Ausstellung zum 100. Geburtstag des Künstlers, 2000, no. 53.Jena, Kunstsammlung Jena, Friedrich Karl Gotsch, Von der Abstraktion im Gegenständlichen, Werke 1917-1964, 7 December 2013 - 2 March 2014.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
FRIEDRICH KARL GOTSCH (1900-1984)Boote bei Ebbe signed with the artist's initials 'FKG' (lower right) and further signed, inscribed and dated 'Farbmonotypie v. Papierbasis - Boote bei Ebbe' - Fr.K Gotsch 1964' (lower margin)gouache monotype on paper heightened with gouache54 x 76.4cm (21 1/4 x 30 1/16in).Executed in 1964Footnotes:ProvenanceMusée du Petit Palais, Geneva, no. 10949 (acquired directly from the artist in 1964).Private collection, Switzerland (by descent from the above).ExhibitedGrömitz, Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf, Kloster Cismar, F.K. Gotsch, Aquarelle und Gouachen: Ausstellung zum 100. Geburtstag des Künstlers, 2000, no. 52.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
EMIL NOLDE (1867-1956)Amaryllisblüten mit Heiligenfigur signed 'Nolde.' (lower left)watercolour on Japan paper47.1 x 35.5cm (18 9/16 x 14in).Executed circa 1925Footnotes:The authenticity of this work has been confirmed by the late Prof. Martin Urban and Dr Manfred Reuther. ProvenanceThe artist's estate, Seebüll.Günther Franke Collection, Munich. Private collection, Southern Germany.ExhibitedMunich, Städtische Galerie München, Sammlung Günther Franke, Gemälde. Zeichnungen. Druckgraphik., 9 September – 20 November 1960, no. 549.Munich, Museum Villa Stuck, Hommage à Günther Franke, 18 July – 18 September 1983, no. 166.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ERICH HECKEL (1883-1970)Gladiolen signed, inscribed and dated 'Gladiolen - Heckel 45' (lower right)watercolour and coloured crayon on paper49.7 x 46.6cm (19 9/16 x 18 3/8in).Executed in 1945Footnotes:The authenticity of this work has been confirmed by Hans Geissler and Renate Ebner from the Erich Heckel Estate.ProvenanceAnon. sale, Grisebach, Berlin, 27 May 2000, lot 273. Acquired at the above sale by the present owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
OSKAR KOKOSCHKA (1886-1990)Sommerblumen mit Rosen, 1969 signedlithograph in coloursSheet 76.3 x 56.5cm (30 1/16 x 22 1/4in).This work is from the numbered edition of 150, printed by J.E. Wolfensberger, Zurich, published by Marlborough Graphics Ltd., LondonThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
OTTO DIX (1891-1969)Stilleben mit Mais, 1959 signed and dated in pencil lithograph in colours, on laid paperSheet 55.5 x 66cm (21 7/8 x 26in).This work is from the edition of 57, printed by Roland Ehrhardt, Dresden, published by the artistFootnotes:LiteratureF. Karsch, Otto Dix: Das Graphische Werk, Hannover, 1970 (no. 230/I. A from B).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
LOVIS CORINTH (1858-1925)One Plate, from Der Walchensee, 1920 signed in pencildrypoint, on Japan laid29.5 x 24.2cm (11 5/8 x 9 1/2in).This work is from the unnumbered edition of 15 (there was also a numbered edition of 75), published by Fritz Gurlitt Verlag, LeipzigFootnotes:LiteratureK. Schwartz, Das Graphische Werk von Lovis Corinth, San Francisco, 1985 (no. 432/II).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
OTTO DIX (1891-1969)Herbstlandschaft, 1965 lithograph in colours, on laid paperImage 50.5 x 63.5cm (19 7/8 x 25in).This work is a proof aside from the numbered edition of 60, printed by Roland Ehrhardt, Dresden, published by the artistFootnotes:LiteratureF. Karsch, Otto Dix: Das Graphische Werk, Hannover, 1970 (no. 302II).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
GEORGE GROSZ (1893-1959)Five prints, 1916-1922 each signed in pencil, three numbered, from various edition sizesfive offset lithographsSheet 48.2 x 33.7cm (18 7/8 x 13 1/4in.) (and smaller) (5)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
KARL SCHMIDT-ROTTLUFF (1884-1976)Russischer Wald, 1918 an unsigned impression from the edition of 100 woodcutSheet 35.5 x 53.1cm (14 x 20 7/8in).Published for the portfolio Die Schaffenden (no. 2), 1921, with their blindstampFootnotes:LiteratureR. Schapire & E. Rathenau, Karl Schmidt-Rottluff: Das Graphische Werk Bis 1923, Berlin, 1987 (no. 229).This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
KÄTHE KOLLWITZ (1867-1945)Frau mit übereinandergelegten Händen, 1898 signed in penciletching and aquatintSheet 60 x 43.5cm (23 5/8 x 17 1/8in).This work is one of only a few known proofs before the edition of 50 published by Emil Richter, Dresden Footnotes:LiteratureA. Klipstein, The Graphic Work of Käthe Kollwitz, New York, 1955 (no. 41.IIIa/VI).A. von dem Knesebeck, Käthe Kollwitz, Werkverzeichnis der Graphik, Kornfeld, 2002 (no. 43.IVb/VII).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Satz von 6 MokkalöffelnMoskau, nach 1958, Silber 875 vergoldet, ca. 90 g, spitzovale gemuldete Laffen, sich erweiternde Griffstücke mit gerundetem Abschluss schauseitig mit polychromem perlbandumrahmtem Cloisonné-Emaille, punziert: Feingehaltsstempel nebst Hammer und Sichel in Stern sowie ungedeutete Meistermarke, L: je ca. 11,5 cm. Leichte Altersspuren.
Westwood/McLaren: A Seditionaries 'Anarchy In The UK' Muslin Shirt,1978,printed in red, blue and black on white muslin, unlabelled, with D ring to each shoulder and D-rings and dog-clip to each long sleeve, no label, No Size,Footnotes:Provenance:Purchased directly by the vendor from Seditionaries in 1979.This features the design commissioned by Sex Pistols' manager Malcolm McLaren from Jamie Reid for use in music press advertising, posters and tour promotion to coincide with the release of the Sex Pistols' debut single Anarchy In The UK/I Wanna Be Me in the autumn of 1976. This artwork subsequently appeared on T-shirts and muslin tops sold in 1977 and 1978 in Seditionaries, the fashion outlet operated by McLaren and his partner Vivienne Westwood at 430 King's Road in west London's World's End.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Alfred Hitchcock: A Bound Presentation Script for 'The Man Who Knew Too Much',Gainsborough Pictures, 1934,the green typewritten script with green cover entitled 'THE MAN WHO KNEW TOO MUCH' NO. 39 in gold lettering, the first page titled The Man Who Knew Too Much (Working Title), followed by a special note regarding pictorial background for titles, 8 1/4in x 10 1/2in (21cm x 27cm)Footnotes:Provenance:The archive of Gainsborough Pictures (1924-1951).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Gary Moore: A Gibson Gary Moore Tribute Model Les Paul Guitar,2012,headstock with serial no. 104120634 and Made In USA 2012 impressed to rear of headstock, well-figured unbound carved maple two-piece top in Lemon Burst finish, two humbucker pickups with four black bonnet volume/tone knobs, three-way selector, tune-o-matic bridge, unbound Granadillo fingerboard with trapezoid markers, headstock with 'Gary Moore' on truss-rod cover, all chrome hardware, in hard, shaped plush-lined Gibson case with Owner's Manual and keys, with original Gibson cardboard shipping box, guitar 39½in (100.5cm) longFootnotes:Provenance:From The Gary Moore Collection.This was the first prototype version of the final retail version of the 2013 Gibson Les Paul Standard Gary Moore Tribute Model, and one of a batch of prototypes sent to the Gary Moore Estate. Various features were changed for the final retail model: Black pickup surrounds, black pickup selector top, chrome non-locking Pro hardware, black control knobs, missing pickup selector ring, standard tone capacitors rather than the 'Bumble Bee'-type in the final version, engraved truss rod cover, Gary's name moved back towards the guitar nut on later models, black case without Gary's signature printed on the outside.This lot is subject to the following lot symbols: ††VAT at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
Freddie Mercury/Queen: A T-Shirt Depicting Marilyn Monroe From The Music Video 'The Miracle',1989,white cotton oversized t-shirt with Andy Warhol-inspired image of Marilyn Monroe printed on the front, stamped 'European Son Designs c.1988', with cut-away slits to either side and hand altered collar, accompanied by black and white photograph backstage from the filming of the video and a handwritten letter concerning the provenance,Footnotes:Provenance:This t-shirt was worn by Freddie Mercury in the official video for 'The Miracle' filmed at Elstree Studios.The accompanying backstage photograph from the day of filming shows Freddie and his mini lookalike. Printed to the back it states, 'Queen for a day, treat for four lookalike kids...Freddie Mercury and Queen with the four young impersonators, filming the new video for 'The Miracle'...' One of the cutaway slits either side of the t-shirt is clearly visible in this photograph. The handwritten letter of provenance is from Jim Hutton, and reads 'This confirms that this T shirt is the original one as worn by the late Freddie Mercury during filming of 'The Miracle' video...'This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
John Lennon: A Proof Copy of 'A Spaniard In The Works',1965,the inside dust jacket printed PROOF ONLY, PROVISIONAL PUBLICATION DATE June 24th 1965, 5 1/2in x 7 1/4in (14cm x 18.5cm)Footnotes:Provenance:Acquired by an antiquarian bookseller in the mid-1960's around the time of publication, thence by descent to the current owner.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
John Lennon & Yoko Ono: A Rare Promotional Pressing For Their Japanese Interview Signed and Inscribed by John and Yoko,Apple Records, 1971,7inch vinyl, featuring an interview recorded at the Teikoku Hotel, Tokyo, on 25th January 1971, signed and inscribed by John in blue ink; the front of the sleeve annotated with 'happy birthday' messages and remember Majorca Cesar; the inside gatefold annotated in various speech bubbles across, one reading happy birthday Cesar, I hope you had a wonderful birthday with us locked in the Hotel for two days. Now you know what fame is! thank you for everything, with love from John Lennon, 22 April 1971, two more saying 'happy birthday Cesar, another reading 'ello Cesar, and another with additional hand-drawn faces for John Lennon and Yoko Ono, dated 22.4.71; the back of the sleeve annotated with more 'happy birthday's' and welcome to our rooms Cesar in John's hand, the back has also been signed by Yoko, vinyl presentFootnotes:Provenance:Offered by a family member of Cesar Lozano Aldea who was the lawyer who assisted John and Yoko in their custody hearing over Yoko's daughter Kyoko. Gifted directly from John Lennon and Yoko Ono to Cesar.According to Keith Badman's book 'The Beatles: After The Break-Up 1970-2000, (Omnibus Press, 1999); 'On Thursday 22nd April, John and Yoko flew from Madrid into Palma airport, Spain...' The following day, 'John and Yoko were taken into police custody and questioned regarding their alleged abduction of Yoko's seven-year-old daughter Kyoko, from a playground in Madrid. Kyoko's father, Anthony Cox had, somewhat ironically for John, been attending a meditation session by guru Maharishi Mahesh Yogi, at the Cala Murada, the Majorca home of the Maharishi for the last eighteen months. John and Yoko had taken the child and looked after her at their hotel, the Melia in Madrid. In court, Yoko claimed that she was awarded custody in the US when she and Cox were divorced. Following the hearing, the judge listens to evidence behind closed doors and rules that Kyoko should return to Cox... On Saturday 24 April John and Yoko left Palma en route to the Virgin Islands to obtain a custody order to fight this ruling.'Just two days later, John Lennon, George Harrison and Ringo Starr accepted Paul McCartney's decision to leave The Beatles and confirmed via their lawyer that they would not appeal against it.This rare single was limited to just 1,000 copies and was only available from Toshiba-EMI by returning a postcard included with the John Lennon/Plastic Ono Band [AP-80174] or Yoko Ono/Plastic Ono Band [AP-80175] albums.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Ringo Starr: A Signed Copy Of The 'Postcards From The Boys' Collector's Edition,Genesis Publications, 2003,hardback, 112pp., in light brown Nubuk leather cover within original post-box case, the presentation page signed in black ink by Ringo Starr, together with a sheet of exclusive stamps and postcards in a black envelope, the publication with 108 images reproducing 53 postcards sent by John Lennon, Paul McCartney, and George Harrison, to Ringo Starr, 11 1/4in x 11 3/4in (28.5cm x 30cm)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Paul McCartney: A Signed Copy Of The Book 'High In The Clouds',Faber & Faber, 2005,first edition, 96pp., hardback with embossed dust jacket, the title page signed in black ink by Paul McCartney, 8in x 10 1/4in (20cm x 26cm)Footnotes:Provenance:Acquired from Waterstones, University of Birmingham, in 2005.Paul McCartney's High In The Clouds Co-authored with Philip Ardagh, with lavish colour illustrations by Geoff Dunbar. A feature-length animated adaptation of the novel, with songs from McCartney, is scheduled for release in 2023.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
George Harrison: A Signed Copy of the 'Songs II' Book & Record Set By George Harrison,Genesis Publications, 1987,no. 1,877 from a limited edition of 2,500 copies, leather-bound hardback in original slip case, signed by George Harrison to the inside page, illustrated by Keith West, with accompanying CD, 8in x 11in (20.5cm x 28cm)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Abbey Road: An Extensively Signed Copy Of 'Abbey Road: The Story Of The World's Most Famous Recording Studios',published 1982,first edition, hardback with dust jacket, co-authored by Brian Southall, Peter Vince and Allan Rouse, published by EMI Records Ltd, foreword page signed by Paul McCartney, preface page signed by George Martin, signed and inscribed throughout the book beside their photograph by dozens of artists and engineers who worked at or visited Abbey Road Studios, including: George Harrison ('came a bit late didn't you'), Ringo Starr ('WOW'), Yoko Ono, Billy Preston, Kate Bush ('I hope all good things come your way, lots of love'), David Gilmour, Roger Waters, Sting, Andy Summers, Alvin Stardust, Paul Jones of Manfred Mann, among many others, with accompanying letter of provenance, 7in x 9 1/2in (18cm x 24cm)Footnotes:Provenance:The autographs were acquired at Abbey Road Studios by Allan Rouse: an engineer at Abbey Road Studios and co-author of the present book.Then by descent to the current owner.Allan Rouse began his career at Abbey Road Studios as an engineer in 1972, working under the Beatles' first recording engineer, Norman 'Hurricane' Smith (who has also signed this book). However, it wasn't until 1991 that Rouse oversaw his first Beatles project, when he copied their mono, stereo, 4-track and 8-track master tapes into digital safety backups. Further major roles included project coordinator for George Martin on the TV documentary 'The Making Of Sgt. Pepper's'; the CD releases of 'Live At The BBC' and the Beatles' 'Anthology'; and the stereo and 5.1 surround mixes for the 1997 reissue of the film 'Yellow Submarine'. Championed for his dedication and technical skill, Rouse became known at Abbey Road Studios as the 'gate-keeper' for The Beatles. A comprehensive list of signatures in this book is available in the Condition Report for this Lot.'Allan was a true friend of the band and of everyone at Apple, and will be remembered with great affection by those of us who were lucky enough to spend time working with him'- 2016 statement from Paul & Linda McCartney, Ringo Starr, Olivia Harrison, Yoko Ono 'and everyone at Apple'This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Alfred Hitchcock: A Bound Presentation Script for 'The Secret Agent',Gainsborough Pictures, 1936,the typewritten script with green cover entitled 'THE SECRET AGENT.' NO. 59 in gold lettering, the first page titled The Secret Agent (Working Title), with printed memo on Gaumont-British Picture Corporation Ltd headed paper dated 1935, 8 1/4in x 10 1/2in (21cm x 27cm)Footnotes:Provenance:According to the accompanying memo, the script was supplied to David Osterer, Distributor for the Gaumont-British Picture Corporation, on 31st October 1935.The archive of Gainsborough Pictures (1924-1951).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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