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Undeutlich signiert: Abstrakte südländische LandschaftTuschzeichnung. Tuschsignatur. [19]59?. Passepartoutausschnitt: 26 x 35 cm. Gerahmt & hinter Glas40,5 x 51 cm. Unclearly signed: Abstract southern landscapeInk drawing. Ink signature. [19]59?. Passepartout cutout: 26 x 35 cm. Framed & behind glass40.5 x 51 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Undeutlich signiert: Abstrakte Szene "Für Horst"Tuschzeichnung. Bleistiftsignatur. [19]68. Abbildung: 26,5 x 37,5 cm. Gerahmt & hinter Glas46 x 55 cm. Unclearly signed: Abstract scene "For Horst"Ink drawing. Pencil signature. [19]68. Image: 26.5 x 37.5 cm. Framed & behind glass46 x 55 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

3 BildnisminiaturenUm 1800. Dezente Tuschezeichnung mit Bleistift, 2x Gouache; je verglaster Goldrahmen mit Schleifenbekönung. Maximal 7 x 5,5 cm, Rahmen 12 x 9 cm. Knabenbildnis im Profil verso "Emanuel de Ema nuel T..." bezeichnet. / Österreichischer Offizier um 1800 in weißer Uniform. / Damenbildnis mit Spitzentuch und -haube Bleistiftschraffur evtl. nachträglich, Damenbildnis mit Schäden, der große Rahmen angebrochen. 3 portrait miniaturesAround 1800. Decent ink drawing with pencil, 2x gouache; each glazed gold frame with bow decoration. Maximum 7 x 5.5 cm, frame 12 x 9 cm. Boy portrait in profile verso "Emanuel de Ema nuel T..." inscribed. / Austrian officer around 1800 in white uniform. / Lady portrait with lace cloth and bonnet Pencil hatching possibly later, lady portrait with damage, the large frame broken. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

§ Peter Arno (1904-1968) 'I refuse madam! It's too hot to pull down the shades!' grey wash and black crayon with traces of pencil, signed at foot in white bodycolour, mounted, framed and glazed, mount aperture 39 x 31cm, calligraphic caption in black ink to mount, old gallery label on backboardNote: Note: Peter Arno began drawing for the New Yorker a few months after its foundation in 1925, and went on to produce almost 100 covers and countless cartoons, his style becoming emblematic of the magazine's sophisticated brand of humour. He was remembered in the title of a 2016 biography as 'The New Yorker's Greatest Cartoonist'.

Waugh, Evelyn (1903-1966) The Tragical Death of Mr Will. Huskisson Sept. MDCCCXXX, 1924 print after Waugh's drawing (published in The Golden Hind, Vol. 2 No. 8, July 1924), on wove paper with Joynson's Parchment watermark, inscribed by Waugh 'Joyce from Evelyn' lower right in brown ink, spotting and repairs, mounted, framed and glazed, mount aperture 25 x 33cmNote: Note:Inscribed by Evelyn Waugh for Joyce Gill (née Fagan), a long-standing friend with whom he had a passionate affair during the unhappy period of the drawn-out annulment of his first marriage to Evelyn Gardner. (See lot 284.)Provenance:By direct descent from Joyce Gill.

Charles Mozley (1915-1991) A Couple in an intimate embrace, signed and dated '64 lower right, oil on paper, 40 x 30 cm, frame 60 x 50 cm, together with an ink drawing of a man and woman by the same hand, 36 x 29 cm, 61 x 54 cm (2)

British School 19th Century,HMS Brunswick in action against the French Vengeur du Peuple and Achille, June 1795, watercolour, pen and ink drawing heightened with white40 x 58cm.

Alan Cotton (b.1936)Ink drawing"Farmstead Near Gordes, Provence", titled, signed and dated 1988 lower left, inscribed lower right "To Marjorie, with love from Alan", framed and glazed, 30.5cm x 39cm

Drawing in pen and black ink, grey wash and blue details, 24 x 32 cm, signed and titled in pen. Fully mounted; browned. And 16 printed others w. ills. by Topor, incl. Schetsen van Amsterdam (1939, printed in 280 numb. copies), a calendar for the year 1940 and 12 picture postcards. (total 17)

(1) The Train Watcher. Hermosa Beach CA, Superflux Publications, 1991. Signed and numbered copy adorned with extensive drawing on front page. Artists' book, lithograph printed, 21.5 x 14 cm, 36 pp. with 18 full-page drawings. Limited numbered edition of 75, this is copy 31/75. Ink is a bit sticky on some pages, generally very good. (2) Up the Threshold. Vienna, Galerie Krinzinger, 1992. Staple bound, 21 x 14 cm, 36 pp. Offset-printed artists' book published in conjunction with the exhibition 'LAX' held in 1992. Features reproductions of eighteen psychologically-charged drawings by Pettibon and text by Ralph Rugoff. Very good condition. (total 2)

JOSEPH LEE - FRAMED INK DRAWING - LONDON LAUGHS - 49 X 36 CMS APPROX PICTURE ONLY

SHA Qi (1914-2005)Ink drawing on paper Head of a womanInkttekening op papier Hoofd van een vrouw13.5 x 10.5 cm Provenance: Galerie De Vuyst, Lokeren, 22.10.2020with certificate Guy De VuystProvenance: Galerie De Vuyst, Lokeren, 22.10.2020met certificaat Guy De Vuyst

Englebert VAN ANDERLECHT (1918-1961)Ink drawing n° 528, signed verso and dated 1956.Inkt tekening n° 528, getekend verso en gedateerd 1956.49 x 29 cm

A collection of prints & drawings comprising: John Samuel Templeton (Irish, fl. 1830-1857), a detailed 19th-century pencil drawing of Dublin Castle, showing Bedford Tower & Gate of the Upper Court (inscribed & signed in ink verso), 21cm by 28.5cm, toning and two small holes at l.r.; a 19th-century ink drawing of a cavalry soldier mounting a horse, unsigned, 24cm by 33cm, wove paper bearing watermark (Prince of Wales's Feathers), tears to edges; nine aquatint etchings of Alpine views (five hand-coloured), Zurich: Leuthold & Dikenmann, c.1800-1850; six soft-ground etchings by Henry Alken (one hand-coloured), depicting horses & hounds, London: Thomas McLean, 1824; two engraved botanical plates, London: J. Wilkes & G. Jones, 1807 & 1813 (19)

VMC: a framed original ink drawing, depicting children playing, cat and frogs in silhouette - signed and dated 1980

John MILLER (1931 – 2002) Novices Italy 1963 – nuns before a statue Brown ink and wash drawing Signed with initials & dated 1963 (bottom right) Sancreed Studio label to verso Framed and glazed Size (excluding frame) 18.5cms x 12.7cms Size (including frame) 38.7cms x 31.8cms From the personal collection of Robin Hanbury-Tenison.

Christopher James TATE (1982) John Passmore Edwards 1893’ Miners & Mechanics Institute St Agnes Wash and ink line drawing, 24 x 35cm.

Paul MOUNT (1922-2009) Landscape  Graphite and ink on paper21 x 30cmTogether with an abstract landscape in pencil, 30 x 21.5cm, and an early ink drawing of a horse by a tree, signed and dated '50 to verso, 30.5 x 21cmThe artist's estate.

PAUL SANDBY RA (BRITISH CIRCA 1725-1809) WINDSOR FROM SNOW HILLpen and grey ink and watercolour on laid paper watermarked with the Strasburg Lily; a pencil drawing of a landscape - verso11.5 x 24.7cm; 4 1/2 x 9 3/4in30.5 x 43cm; 12 x 16 7/8in (framed)(2)Property from an EstateProvenance:Private collection, U.S.A. (until 1993)Thomas Agnew & Sons, London Nigel Jacques (purchased from the above circa 1993) Windsor Castle and the surrounding area was a favourite subject for Sandby throughout his career. In 1765 his brother Thomas was appointed Deputy Ranger of Windsor Great Park and took up residence in the Deputy Ranger's House (now Royal Lodge) in about 1770. Paul Sandby regularly visited his brother and his family at Windsor, especially after 1782, when Paul's son Thomas Paul married his cousin, Thomas's daughter Harriot.Offered together with a view of Tivoli by Richard Cooper Junior (British 1740-1820), signed R Cooper del lower right, pencil, pen and brown ink and grey wash over pencil on laid paper, oval 29.5 x 24cm; 11 5/8 x 9 1/2in; 44.5 x 51.5cm; 17 1/2 x 20 1/4in (framed); Provenance: Guy Peppiatt Fine Art Ltd

ATTRIBUTED TO JOHN MINTON (BRITISH 1917-1957) CORNFIELDpen and brush and brown ink over watercolour on paper water-marked Monckton Kent27 x 36.5cm; 10 1/2 x 14 1/4in40 x 48cm; 15 3/4 x 18 3/4in (framed) Property of a Gentleman, LondonProvenance: Brian Sewell, London (journalist and art critic), acquired from the artistAcquired from the above by the present owner circa 1990Commenting recently on the present work Frances Spalding notes that 'Minton’s regular visits to Marshalls in Chart Sutton, to stay with Edie Lamont in the late 1940s, in a most beautiful part of Kent; his meeting with her nearby neighbour H.E.Bates, in connection with his rural illustrations for two of his books; as well as an awareness of an inherent conflict in himself between a desire to create 'painter’s' as well as make 'illustrators' drawings, makes this a possible work by him, albeit in an unfamiliar vein.’Edie was a friend from Minton's St Johns Wood Art School days; twenty years Minton's senior she was married to Newton Lamont, a coal merchant. Her diaries from 1945 to 1954 record that Minton visited 'Marshalls' several times a year, returning to London from his trips with sheaves of drawings. 'He drew the nut grove in the Lamonts' garden and the surrounding countryside, especially the view over the Weald found within two minutes' walk from their house. With Edie, he made drawing expeditions to Little Chart Forstal, Frittenden and Tenterden. His Kent landscapes had contributed significantly to the success of his 1945 Roland, Browse and Delbanco exhibition...' (see: Frances Spalding, Dance Till the Stars Come Down, a Biography of John Minton, London, 1991, p. 127).ARR may apply

AR * Ardizzone (Edward, 1900-1979). Original drawing for 'The Man Who Pretended to Eat' by Eleanor Farjeon, black ink on thick wove paper, depicting a craftsman wearing an apron, one arm resting on a workbench, gazing down on a small boy looking up at him, publisher's notes, including title, in pencil to margin, sheet size 196 x 294 mm, mountedQTY: (1)NOTE:This illustration appears on p.37 of Kaleidoscope, a collection of short stories written by Eleanor Farjeon and illustrated by Edward Ardizzone, published in 1963.

* Hearsey (Hyder Young, 1782-1840). View of Almora, Uttar Pradesh, Northern India, circa 1815, watercolour with pencil, and pen and brown ink on Whatman laid paper (watermarked J Whatman 1804), inscribed (presumably by the artist) to lower blank margin: ALMORAH No.4, left blank margin with contemporary paper restrengthening to verso, 33.5 x 53.5 cm (13 1/4 x 21 ins), hinged to upper margin in modern window mount, with modern pencil note to backing card, 'English School, very early 19th century, view in Northern India, inscribed below the drawing, paper watermarked Whatman 1804, note in book from which these were taken stated that they were drawn during Col. Moercheson's survey', framed and glazedQTY: (1)NOTE:Provenance: Private Collection, Gloucestershire, UK.Almora, the capital of Kumaon, sits on a saddle-ridge of the Himalayas, 5494 feet above sea level. The town was captured by the Gurkhas in 1790, who constructed a fort on the eastern extremity of the ridge. Almora was the scene of a British victory which terminated the war with Nepal in April 1815, and which resulted in the evacuation of Kumaon by the Gurkhas and the annexation of the province by the British. The British Library holds a number of watercolour views by Hyder Hearsey of the lower reaches of the Himalayas, including two which are captioned Almorah No.1 and Almorah No.5, as in the present work. Two similar views of Almora, also on the same scale, were offered at Christie's, London, Exploration and Travel with Visions of India, 21 September 2000, lot 283.Hyder Young Hearsey was the son of Captain Harry Hearsey, an English officer in the Maratha service who fell at the head of his cavalry regiment in the battle of Merta, in 1790. Hyder was educated in England, and at an early age followed in his father's footsteps, being appointed a cadet in the Maratha service before his seventeenth birthday, and receiving promotion a few months later to the rank of ensign, for good service in the field. He was kindly treated by General Perron, the French commander-in-chief of the Maratha army, but, like other Englishmen in that service, soon found his position uncomfortable, and entered the army of the celebrated George Thomas, Raja of Hansi. With the outbreak of the Nepal War in 1814, Lord Moira, Governor General, decided to attack Kumaon as a diversion from a number of unsuccessful advances towards Kathmandu. Hearsey was in command of a small body of irregulars and advanced in February 1815 from Pilibhit up the Kali into the hills, capturing Champavat in March 1815. Underestimating the fighting power of the Gurkhas, he was wounded, captured and imprisoned at Almora until its surrender at the end of April 1815. Hearsey accompanied two expeditions, through the hill country and in to Tibet, to discover the source of the Ganges. The first was in 1808 with Lieutenant Webb and Captain Raper. During the second, in 1812, he and William Moorcroft became the first Europeans to reach the sacred lake of Manasarowar.

* Partridge (Bernard, 1861-1945). Desperate Remedies, pen and ink drawing for Punch, signed lower left, titled 'Desperate Remedies. Kaiser (to German Citizen): "Hist! The hounds of justice are upon my track. We must change clothes!"' to lower margin, sheet size 36 x 27 cm, mounted (46.5 x 35.5 cm) QTY: (1)

An Udaipur drawing, Udaipur, Rajasthan. North India, circa 1790, ink on paper, depicting wrestlers entertaining a crowd gathered around them in a circle, a procession below, probably a prepatory sketch for a large scale painting, mounted, painting 30 x 29cm. 

Alick Knight (1903 - 1983)Three Figuressigned, the mount inscribed To Our Friend Dorothea Sharp, because she likes this drawing, from Eva & Alick, ink and watercolour wash, 35.5cm x 34.5cm

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stadtszene, Nollendorfplatz. 1915. Tuschfederzeichnung. Verso mit dem Nachlassstempel des Kunstmuseums Basel (Lugt 1570 b) und der handschriftlichen Registriernummer 'F Be/Ab 12'. Auf Velin. 48 x 42,5 cm (18,8 x 16,7 in), blattgroß. [AM]. • Stadtszene von großer zeichnerischer Ausdruckskraft. • Der Berliner Nollendorfplatz von Kirchner festgehalten in spontaner, expressiver Linienführung. • Bereits 1912 entsteht Kirchners berühmtes Gemälde 'Nollendorfplatz' (Stiftung Stadtmuseum Berlin). PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Sammlung Hermann Gerlinger, Würzburg (2001 vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, Katalog 62, 2001, Kat.-Nr. 50 (m. Abb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 341, SHG-Nr. 767 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 13.51 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stadtszene, Nollendorfplatz. 1915. Pen and India ink drawing. With the estate stamp of the Kunstmuseum Basel (Lugt 1570 b) and the hand-written registration number 'F Be/Ab 12' on the reverse. On wove paper. 48 x 42.5 cm (18.8 x 16.7 in), the full sheet. [AM]. • City scene with an excellent graphic expressiveness. • The Berlin Nollendorfplatz captured by Kirchner in a spontaneous, highly expressive line. • Kirchner's famous painting 'Nollendorfplatz' (Foundation Stadtmuseum Berlin) was made as early as in 1912. PROVENANCE: From the artist's estate (with the estate stamp on the reverse, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Hermann Gerlinger Collection, Würzburg (acquired from the above in 2001, with the collector's stamp, Lugt 6032). EXHIBITION: Ernst Ludwig Kirchner. 90 Zeichnungen für 90 Jahre, Hommage à Roman Norbert Ketterer, Galerie Henze & Ketterer, catalog 62, 2001, cat. no. 50 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 341, SHG no. 767 (with illu.). Called up: June 10, 2023 - ca. 13.51 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Straßenszene II. 1914. Tuschfederzeichnung. Verso von Lise Gujer bezeichnet 'Zeichnung von E.L. Kirchner. Lise Gujer'. Auf Zeichenpapier (aus dem Skizzenbuch 43 mit rotem Schnitt). 20,2 x 17,2 cm (7,9 x 6,7 in), Blattgröße. [SM]. • Aus dem Besitz von Lise Gujer, einer mit Kirchner befreundeten Schweizer Textilkünstlerin, die ihre Motive häufig nach seinen Entwürfen gestaltet. • Eine der berühmten Berliner Straßenszenen. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Auskunft. PROVENIENZ: Aus dem Nachlass Lise Gujer, Davos-Sertig (verso bezeichnet). Sammlung Georg Friedrich Büchner, Berlin (1968). Sammlung Hermann Gerlinger, Würzburg (2004 erworben: Bassenge, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Zum 30. Todestag. Ernst Ludwig Kichner, Handzeichnungen der Sammlung G.F. Büchner, Berlin, Saalbau-Galerie, Berlin, 1968, Kat.-Nr. 32 (m. Abb.) Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, (2017-2022). LITERATUR: Bassenge, Berlin, Auktion Kunst des 20. Jahrhunderts, 4.12.2004, Los 6689 (m. Abb). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 338, SHG-Nr. 760. Aufrufzeit: 10.06.2023 - ca. 13.52 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Straßenszene II. 1914. Pen and India ink drawing. On paper (from a sketchbook with red edges). 20.2 x 17.2 cm (7.9 x 6.7 in), size of sheet. [SM]. • From the ownership of Lise Gujer, a Swiss textile artist and a friend of Kirchner, who based many of her motifs on his creations. • One of the artist's famous Berlin street scenes. We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: From the estate of Lise Gujer, Davos-Sertig. (inscribed on the reverse) Sammlung Georg Friedrich Büchner, Berlin (1968). Hermann Gerlinger Collection, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Zum 30. Todestag Ernst Ludwig Kichner, Handzeichnungen der Sammlung G.F. Büchner, Berlin, Saalbau-Galerie, Berlin, 1968, cat. no. 32 (with illu.) Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Bassenge Kunst des 20. Jahrhunderts, 4.12.2004 Los 6689 (mit Abb). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 338, SHG no. 760 (with illu.). Called up: June 10, 2023 - ca. 13.52 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Waldstück am Bach im Sertigtal. 1923. Tuschpinsel über Bleistift. Verso mit dem Nachlassstempel des Kunstmuseums Basel (Lugt 1570b) und der handschriftlichen Registriernummer 'P Da / Aa 11'. Auf chamoisfarbenem Velin. 44,7 x 35,9 cm (17,5 x 14,1 in), blattgroß. Das Werk ist in der Sammlung Gerlinger unter der SHG-Nr. 788 a registriert. [AM]. • Kraftvolle Tuschpinselzeichnung in spontanem Duktus. • Mit breitem Pinselstrich schildert der große Expressionist die Atmosphäre des Waldstücks. • Eindrückliche Arbeit, entstanden im Jahr von Kirchners Umzug in das Haus auf dem Wildboden am Eingang zum Sertigtal. PROVENIENZ: Nachlass des Künstlers (verso mit dem Nachlassstempel, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Sammlung Hermann Gerlinger, Würzburg (2000 vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). Aufrufzeit: 10.06.2023 - ca. 14.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Waldstück am Bach im Sertigtal. 1923. Brush and India ink over pencil. Verso with the estate stamp of the Kunstmuseum Basel (Lugt 1570b) and the hand-written registration number 'P Da / Aa 11“. On off-white wove paper. 44.7 x 35.9 cm (17.5 x 14.1 in), the full sheet. The work is registered in the Hermann Gerlinger Collection with the number SHG 788 a. [AM]. • Powerful ink drawing in spontaneous duct. • The great expressionist artist illustrates the sylvan ambience with a broad brushstroke. • Impressive work from the year Kirchner moved to the Sertigtal. PROVENANCE: From the artist's estate (with the estate stamp on the reverse, Lugt 1570 b). Galerie Henze & Ketterer, Wichtrach/Bern. Hermann Gerlinger Collection, Würzburg (acquired from the above in 2000, with the collector's stamp, Lugt 6032). Called up: June 10, 2023 - ca. 14.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Bauer auf der Alp. 1917. Aquarell über schwarze Kreide. Links unten mit feinem Bleistift signiert, rechts unten in Tusche erneut signiert und datiert '17'. Verso betitelt '1 Bauer a. d. Alp 1919'. Auf kreidegrundiertem Papier. 38 x 50 cm (14,9 x 19,6 in), blattgroß. Verso mit einer Skizze eines Berghangs mit Hütte und Wolken, um 1917, Tuschfederzeichnung. [CH/EH]. • Eine der frühesten Arbeiten der Davoser Schaffenszeit: entsteht während Kirchners erstem Aufenthalt auf der 'Stafelalp' oberhalb von Davos. • Verso mit der Tuschfeder-Skizze für das atmosphärische Gemälde 'Stafelalp bei Mondschein' (1919, Museum am Ostwall, Dortmund). • Trotz seines gesundheitlichen Zustands schafft Kirchner eine ausgearbeitete, energisch aufs Papier gebrachte, atmosphärische und farbkräftige Darstellung. • Nach Kirchners Umzug in die Davoser Bergwelt wird das Leben der Bauern eine bedeutende Inspirationsquelle für das Schaffen des Künstlers. • Reizvoller, nah an den Porträtierten herantretender Bildausschnitt. Das vorliegende Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. PROVENIENZ: Felix Landau Gallery, Los Angeles. Alan Auslander Gallery, New York. Galerie Ilse Schweinsteiger, München. Sammlung Hermann Gerlinger, Würzburg (1986 von der Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Zeichnungen, Aquarelle, Druckgraphik, Galerie Ilse Schweinsteiger, München, Frühjahr 1986, Kat.-Nr. 59 (m. Abb.). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Das andere Ich. Porträts 1900-1950 (Aus den Sammlungen der Staatlichen Galerie Moritzburg, Halle, und der Sammlung Hermann Gerlinger), Staatliche Galerie Moritzburg, Halle (Saale), 6.4.-15.6.2003, Kat.-Nr. 133 (m. Abb.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 137 (m. Abb.). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, 2.10.-20.12.2015, Kat.-Nr. 41 (m. Abb). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Parke-Bernet, New York, 2391. Auktion, Impressionist and Modern Paintings and Drawings, 8./9.12.1965, Los 102 (m. Abb.). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 267, SHG-Nr. 388 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 345, SHG-Nr. 775 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 15.07 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Bauer auf der Alp. 1917. Watercolor over black chalks. Signed in pencil in lower left, lower right once more signed in India ink, as well as dated '17'. Titled '1 Bauer a. d. Alp 1919' on the reverse. On chalk-primed paper. 38 x 50 cm (14.9 x 19.6 in), the full sheet. With a sketch of a mountain slope with a hut and clouds on the reverse, around 1917, India ink drawing. [CH/EH]. • One of the earliest works from the Davos days: made during Kirchner's first stay on the 'Stafelalp' above Davos. • With the ink pen sketch for the atmospheric painting 'Stafelalp bei Mondschein' (1919, Museum am Ostwall, Dortmund) on the reverse. • Despite his poor health, Kirchner rendered an atmospheric drawing in strong colors. • After Kirchner had moved to the Davos mountains, the life of the local farmers would serve the artist as an important source of inspiration. • Appealing close-up image section. The work is documented in the Ernst Ludwig Kirchner Archive, Wichtrach/Bern. PROVENANCE: Felix Landau Gallery, Los Angeles. Alan Auslander Gallery, New York. Galerie Ilse Schweinsteiger, Munich. Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032, acquired from the above in 1986). EXHIBITION: Zeichnungen, Aquarelle, Druckgraphik, Galerie Ilse Schweinsteiger, Munich, spring 1986, cat. no. 59 (with illu.). Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Das andere Ich. Porträts 1900-1950 (From the collections of of the Staatliche Galerie Moritzburg, Halle, and the Hermann Gerlinger Collection), Staatliche Galerie Moritzburg, Halle (Saale), April 6 - June 15, 2003, cat. no. 133 (with illu.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Vienna, June 1 - August 26, 2007, cat. no. 137 (with illu.). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, Ocotber 2 - December 20, 2015, cat. no. 41 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Parke-Bernet, New York, 2391. Auction of Impressionist and Modern Paintings and Drawings, December 8/9, 1965, lot 102 (with illu.). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 267, SHG no. 388 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 345, SHG no. 775 (with illu.). Called up: June 10, 2023 - ca. 15.07 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Max Beckmann 1884 Leipzig - 1950 New York Der wirkliche Don Juan. 1945. Tuschfederzeichnung über Bleistift. Rechts unten signiert und datiert 'A. [=Amsterdam] 45'. Verso von Quappi Beckmann betitlet 'The real Don Juan' und bezeichnet. Auf chamoisfarbenem Bütten (mit Wasserzeichen 'PT Antique'). 31 x 32,5 cm (12,2 x 12,7 in), Blattgröße. [JS]. • Der Ausnahmekünstler Max Beckmann gilt international als einer der bedeutendsten Protagonisten der Moderne. • 'Der wirkliche Don Juan' ist eine charakteristische Komposition aus Beckmanns zentraler Motivik des 'Welttheaters', des menschlichen Lebens als schöner Schein voller Abgründe. • Beckmannns Œuvre ist 'Schön und schrecklich wie das Leben' (M. Beckmann). • Energische Federzeichnung aus dem Amsterdamer Exil am Ende des Zweiten Weltkrieges, kurz vor der Emigration in die USA. • Die neueste Forschung geht davon aus, dass Beckmann sich in seinem Tagebucheintrag vom 17. Dez. 1945 - anders als bisher angenommen - nicht auf ein titelgleiches Aquarell, sondern auf die vorliegende Federzeichnung bezieht. • 1943 malt Beckmann im Amsterdamer Exil das abgründige Casino-Gemälde 'Der Traum von Monte Carlo' (Staatsgalerie Stuttgart), das auch eine Rückbesinnung auf sein mondänes Leben der Vorkriegsjahre ist. Die Arbeit wird in das voraussichtlich Ende 2023 erscheinende Werkverzeichnis der Zeichnungen von Dr. Stephan von Wiese und Hedda Finke aufgenommen. Wir danken für wissenschaftliche Beratung. PROVENIENZ: Sammlung Serge Sabarsky (1912-1996), New York. Nachlass Serge Sabarsky, New York. Sammlung Vally Sabarsky (1909-2002), New York. Vally Sabarsky Stiftung, New York. AUSSTELLUNG: Max Beckmann. Drawings, Etchings, Lithographs, Woodcuts, Ausst. The Art Institute of Chicago, 10. Januar–22. Februar 1948, Chicago 1948 (hier unter dem Titel 'Don Juan'). Aufrufzeit: 10.06.2023 - ca. 15.15 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONMax Beckmann 1884 Leipzig - 1950 New York Der wirkliche Don Juan. 1945. Pen and India ink drawing over pencil. Lower right signed and dated 'A. [=Amsterdam] 45'. Inscribed and titled 'The real Don Juan' by Quappi Beckmann on the reverse. On off-white laid paper (with watermark 'PT Antique'). 31 x 32.5 cm (12.2 x 12.7 in), size of sheet. [JS]. • The exceptional artist Max Beckmann is internationally regarded as one of the most important protagonists of Modernism. • 'The Real Don Juan' is a characteristic composition from Beckmann's central motif of the 'World Theater', human life as a beautiful appearance full of abysses. • Beckmann's oeuvre is 'beautiful and terrible like life' (M. Beckmann). • Energetic pen drawing from his exile in Amsterdam at the end of the Second World War, shortly before he emigrated to the USA. • The latest research assumes that in his diary entry of December 17, 1945 - contrary to what was previously assumed - Beckmann does not refer to a watercolor of the same title, but to the present pen drawing. • In 1943, in exile in Amsterdam, Beckmann painted the abysmal casino painting 'Der Traum von Monte Carlo' (Staatsgalerie Stuttgart ), which is also a reflection on his glamorous life in the pre-war years. The work will be included into the catalogue raisonné of drawings, scheduled for release in late 2023, compiled by Dr. Stephan von Wiese and Hedda Finke. We are grateful for the expert advvice. PROVENANCE: Serge Sabarsky Collection (1912-1996), New York. Serge SabarskyEstate, New York. Vally Sabarsky Collection (1909-2002), New York. Vally Sabarsky Foundation, New York. EXHIBITION: Max Beckmann. Drawings, Etchings, Lithographs, Woodcuts, exhibition at The Art Institute of Chicago, January 10 – February 22, 1948, Chicago 1948 (here titled 'Don Juan'). Called up: June 10, 2023 - ca. 15.15 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Lyonel Feininger 1871 New York - 1956 New York Heimkehrende Fischer III. 1925. Aquarell und Tuschfederzeichnung. Links unten signiert, rechts unten datiert '10 8 25' sowie unten mittig betitelt. Auf Bütten. 28 x 40,7 cm (11 x 16 in), Blattgröße. [AR]. • Seestück aus der Bauhaus-Zeit, in der die unaufdringlich gesetzte Farbe das Motiv wie ein Farbnebel umfängt. • Neben Architekturdarstellungen entwickelt sich das Motiv zu einem seiner wichtigsten Themen. • Die zentralen Elemente dieser Arbeiten sind das Meer, Wolken, Schiffe und Figuren, die er in variierenden Konstellationen zu immer neuen Bildkompositionen zusammenführt. • Werke Lyonel Feiningers befinden sich in zahlreichen bedeutenden internationalen Sammlungen, u. a. im Museum of Modern Art, New York, im Centre Pompidou, Paris, im Städel Museum, Frankfurt a. Main, sowie im Sprengel Museum, Hannover. Achim Moeller, Direktor des Lyonel Feininger Project LLC, New York – Berlin, hat die Echtheit dieses Werkes, das im Archiv des Lyonel Feininger Project unter der Nummer 1849-05-02-23 registriert ist, bestätigt. Ein Zertifikat liegt der Arbeit bei. PROVENIENZ: Privatsammlung. Privatsammlung Süddeutschland (durch Erbschaft von Vorgenanntem). Aufrufzeit: 10.06.2023 - ca. 15.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLyonel Feininger 1871 New York - 1956 New York Heimkehrende Fischer III. 1925. Watercolor and ink pen drawing. Lower left signed, lower right dated '10 8 25' and titled in bottom center. On laid paper. 28 x 40.7 cm (11 x 16 in), size of sheet. [AR]. • Seascape from the Bauhaus period, in which the unobtrusively applied color surrounds the motif like a mist. • In addition to depictions of architecture, this motif became one of his most important ones. • Sea, clouds, ships and figures are key elements of these works, which he brings together in varying constellations to create ever new pictorial compositions. • Works by Lyonel Feininger can be found in numerous important international collections like the Museum of Modern Art, New York, the Center Pompidou, Paris, the Städel Museum, Frankfurt a. Main, and the Sprengel Museum, Hanover. Achim Moeller, director of the Lyonel Feininger Project LLC, New York – Berlin, has confirmed the authenticity of the present work, which is registered in the archive of the Lyonel Feininger Project under the number 1849-05-02-23. A certificate is included. PROVENANCE: Private collection. Private collection Southern Germany (inherited from the above). Called up: June 10, 2023 - ca. 15.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Ella Bergmann-Michel 1896 Paderborn - 1971 Vockenhausen/Taunus oB 170. 1924. Tusch- und Bleistiftzeichnung mit Aquarell. Rechts unten signiert, datiert und betitelt. Auf feinem Pergamentpapier. 41,5 x 54,3 cm (16,3 x 21,3 x 21,3 in), Blattgröße. [AR]. • Ella Bergmann-Michel ist eine visionäre Künstlerin und gilt als Pionierin der Fotocollage. • Ihre wissenschaftlich anmutenden, abstrakten Arbeiten auf Papier entstehen als künstlerische Resonanz der technischen Entwicklungen ihrer Zeit, die den Fortschritt feierte. • Ihr Stil ist geprägt von Konstruktivismus, Dadaismus, Surrealismus und Bauhaus. • Namhafte Galerien, wie Hanna Bekker vom Rath oder Eric Mouchet, haben der Künstlerin erst kürzlich eigene Ausstellungen gewidmet und machen ihr Schaffen einem größeren Publikum zugänglich. • Auf dem internationalen Auktionsmarkt erzielten ihre Werke in den letzten Jahren immer neue Höchstpreise (Quelle: artprice.com). Die Arbeit wird in das in Vorbereitung befindliche Werkverzeichnis von Herrn Dr. Norbert Nobis, Hannover, in Zusammenarbeit mit der Galerie Eric Mouchet, Paris, aufgenommen. Wir bedanken uns für die freundliche Auskunft. PROVENIENZ: Privatbesitz Baden-Württemberg (um 1980 direkt bei Robert Michel erworben). Privatbesitz Hessen (vom Vorgenannten erworben). AUSSTELLUNG: Ella Bergmann-Michel. Black Light, Galerie Hanna Bekker vom Rath, Frankfurt a. Main, 9.9.-29.10.2022. Aufrufzeit: 10.06.2023 - ca. 15.47 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONElla Bergmann-Michel 1896 Paderborn - 1971 Vockenhausen/Taunus oB 170. 1924. India ink and Pencil drawing with watercolors. Lower right signed, dated and titled. On fine glassine paper. 41.5 x 54.3 cm (16.3 x 21.3 x 21,3 in), size of sheet. [AR]. • Ella Bergmann-Michel was a visionary artist in the field of photo collage. • Her abstract paper works with a scientific touch were made as an artistic reaction to the technnological progress the world celebrated in those days. • Her style was informed by Constructivism, Dadaism, Surrealism and Bauhaus. • Well-known galleries like Hanna Bekker vom Rath or Eric Mouchet honored the artist in recent exhibitions to popularize her creation. • Over the past years, her works have fetched top prices on the international auction market (source: artprice.com). The work will be included into the forthcoming catalogue raisonneé compiled by Dr. Norbert Nobis, Hanover, in cooperation with Galerie Eric Mouchet, Paris. We are grateful for the kind support in cataloging this lot. PROVENANCE: Private collection Baden-Württemberg (acquired from Robert Michel around 1980). Private collection Hesse (acquired from the above). EXHIBITION: Ella Bergmann-Michel. Black Light, Galerie Hanna Bekker vom Rath, Frankfurt am Main, September 9 - October 29, 2022. Called up: June 10, 2023 - ca. 15.47 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Fritz Bleyl 1880 Zwickau - 1956 Iburg Bootsentladung auf der Elbe. 1906/07. Tuschzeichnung über Bleistift. Rechts unten monogrammiert. Auf Transparentpapier. 11,9 x 16,3 cm (4,6 x 6,4 in), blattgroß. [AM]. • Charaktervolle Arbeit aus der gesuchten 'Brücke'-Zeit des Künstlers. • Die Tuschfederzeichnung gehört zu den bevorzugten künstlerischen Techniken Fritz Bleyls. • Dynamische Komposition aus dem kleinen Œuvre des Künstlers. PROVENIENZ: Barbara Wentzel, Stuttgart (wohl 1975 durch Erbschaft von Prof. Hans Wentzel erhalten). Sammlung Hermann Gerlinger, Würzburg (1987 von Vorgenannter erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Fritz Bleyl und die frühen Jahre der 'Brücke', Schleswig-Holsteinisches Landesmuseum, Schleswig / Städtisches Museum, Zwickau, Juli-März 1999/2000, Kat.-Nr. 44 (m. Abb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 374, SHG-Nr. 830 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 16.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONFritz Bleyl 1880 Zwickau - 1956 Iburg Bootsentladung auf der Elbe. 1906/07. India ink drawing over pencil. Lower right monogrammed. On transparent paper. 11.9 x 16.3 cm (4.6 x 6.4 in), the full sheet. [AM]. • Characterful work from the artist's sought-after 'Brücke“ period. • The ink pen drawings are among Fritz Bleyl's artistic techniques. • Dynamic composition from the artist's small oeuvre. PROVENANCE: Barbara Wentzel, Stuttgart (inherited from Prof. Dr. Hans Wentzel, presumably in 1975). Hermann Gerlinger Collection, Würzburg (acquired from the above in 1987, with the collector's stamp, Lugt 6032). EXHIBITION: Fritz Bleyl und die frühen Jahre der „Brücke“, Schleswig-Holsteinisches Landesmuseum, Schleswig / Städtisches Museum, Zwickau, July-March 1999/2000, cat. no.44 (with illu.). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 374, SHG no. 830 (with illu.). Called up: June 10, 2023 - ca. 16.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Liegende im schwarzen Rock. 1910. Tusche und Pinsel über Bleistift auf Postkarte. Wietek 31 ('Aufgestützt liegendes Mädchen'). Verso bezeichnet 'Frl. Emmy Frisch / Friedenau-Berlin Kaiser Allee 71 Aufgang II / Schönster Gruß vom kalten Dangast Ihr S-R' und mit Poststempel 'Dangast 7 [5 ?] 10 2 3 N'. Das Werk ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin, dokumentiert. 9 x 14 cm (3,5 x 5,5 in), blattgroß. [KT]. • Früher Gruß des Künstlers an seine zukünftige Ehefrau Emmy Frisch. • Spontane, fließende Zeichnung, die der Künstler anschließend in Holz schneidet. • Entstanden im Herbst 1910, während des Aufenthaltes in Dangast anlässlich der gemeinsamen Ausstellung mit Emma Ritter. PROVENIENZ: Emmy Frisch, Berlin (vom Künstler erhalten). Galerie Thomas, München. Sammlung Hermann Gerlinger, Würzburg (am 16.4.1989 vom Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 222f., SHG-Nr. 295 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 50, SHG-Nr. 73 (m. Abb.). Gerhard Wietek, Karl Schmidt-Rottluff: Zeichnungen auf Postkarten, Köln 2010, S. 114f., Nr. 31 (m. Abb.). Aufrufzeit: 10.06.2023 - ca. 16.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Liegende im schwarzen Rock. 1910. India Ink and brush over pencil on postcard. Wietek 31 ('Aufgestützt liegendes Mädchen'). Verso inscribed 'Frl. Emmy Frisch / Friedenau-Berlin Kaiser Allee 71 Aufgang II / Schönster Gruß vom kalten Dangast Ihr S-R' and with a postage stamp 'Dangast 7 [5 ?] 10 2 3 N'. The work is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation Berlin. 9 x 14 cm (3.5 x 5.5 in), the full sheet. [KT]. • Early greeting from the artist to his future wife Emmy Frisch. • Spontaneous, flowing drawing that the artist then cut into wood. • Created in autumn 1910 while staying in Dangast on the occasion of the joint exhibition with Emma Ritter. PROVENANCE: Emmy Frisch, Berlin (from the artist). Galerie Thomas, Munich. Hermann Gerlinger Collection, Würzburg (acquired from the above on April 16, 1989, with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, pp. 222f, SHG no. 295 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 50, SHG no. 73 (with illu.) Gerhard Wietek, Karl Schmidt-Rottluff: Zeichnungen auf Postkarten, Cologne 2010, pp. 114f., no. 31 (with illu.). Called up: June 10, 2023 - ca. 16.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Jacob Philipp Hackert 1737 Prenzlau - 1807 Florenz Ansicht des Tibertals bei Tor di Quinto III. 1781. Federzeichnung und Pinsel in Braun über Bleistift. Nordhoff 772. Links oben ortsbezeichnet 'Pres de Rome sur la voie Flaminiene à Torre Quinto', datiert und signiert. Auf festem Ingres-Bütten. 41,5 x 64,3 cm (16,3 x 25,3 in), blattgroß. PROVENIENZ: Privatsammlung Süddeutschland. LITERATUR: Karl & Faber, München, Auktion 23.-25.11.1978, Los 450. Stadteinwärts richtet sich der Blick hier über das Tibertal nach Rom, wo die Kuppel des Petersdoms und die Bauten des Vatikans, rechts davon der Monte Mario mit zwei Pinien und den Villen in der Ferne zu erkennen ist. Am rechten Bildrand schlängelt sich die via Flaminia. Effektvoll spielt Hackert hier mit den rastenden Wanderern im Vordergrund und der dunstigen Weite in der sich die Silhouette der Stadt abzeichnet mit räumlichen Effekten, unterstrichen durch die meisterhafte Beherrschung der lavierenden Sepiazeichnung. Etliche der Zeichnungen befinden sich in renommierten grafischen Sammlungen wie bspw. der Albertina Wien, der Pierpont Morgan Library und dem Metropolitan Museum of Art, New York sowie dem Kupferstichkabinett Berlin und der Stiftung Weimarer Klassik und unterstreichen so die immense Bedeutung Hackerts in der klassizistischen Landschaftsmalerei der Goethezeit. [KT] Aufrufzeit: 10.06.2023 - ca. 17.42 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJacob Philipp Hackert 1737 Prenzlau - 1807 Florenz Ansicht des Tibertals bei Tor di Quinto III. 1781. Pen and ink drawing and brush in brown over pencil. Nordhoff 772. Upper left inscribed 'Pres de Rome sur la voie Flaminiene à Torre Quinto', dated and signed. On firm Ingres laid paper. 64,3 41.5 x 64.3 cm (16.3 x 25.3 in), th full sheet. PROVENANCE: Private collection Southern Germany. LITERATURE: Karl & Faber, Munich, auction on November 23-25, 1978, lot 450. Toward the city, the view is directed across the Tiber valley to Rome, where the dome of St. Peter's Basilica and the buildings of the Vatican can be seen, to the right of which is Monte Mario with two pine trees and the villas in the distance. The via Flaminia meanders along the right edge of the picture. Hackert effectfully plays with the resting hikers in the foreground and the hazy expanse from which the silhouette of the city emerges, underlined by his mastery in the wash sepia drawing. Many of the drawings are in renowned graphic collections, such as the Albertina in Vienna, the Pierpont Morgan Library and the Metropolitan Museum of Art in New York, as well as the Kupferstichkabinett in Berlin and the Stiftung Weimarer Klassik, thus underscoring Hackert’s immense importance in classical landscape painting in Goethe’s days. [KT] Called up: June 10, 2023 - ca. 17.42 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Christoph Heinrich Kniep 1755 Hildesheim - 1825 Neapel Sizilianische Küste bei Taormina. 1787. Federzeichnung, laviert. Auf Bütten (mit angeschnittenem Wasserzeichen 'Bekrönte Lilie', darunter 'C & I Hon[..]'). 40,3 x 55 cm (15,8 x 21,6 in), blattgroß. PROVENIENZ: Wohl Sammlung Joachim Gustav Heinrich Winckler (geb. 1822), Hamburg/London (recto links unten mit dem Sammlerstempel, Lugt 2702). Privatsammlung Süddeutschland (wohl 1979 erworben). LITERATUR: Karl & Faber, München, 150. Auktion, 28.11.1979, Los 42 (als Jacob Philipp Hackert). Vgl. Georg Striehl, Der Zeichner Christoph Heinrich Kniep (1755-1825). Landschaftsauffassung und Antikenrezeption, Hildesheim u.a. 1998, Kat.-Nr. 61 (SW-Abb. 152). Christoph Heinrich Knieps künstlerische Laufbahn sowie sein Motivrepertoire ist aufs Engste mit Johann Wolfgang von Goethe und dessen Sizilienreise 1787 verknüpft. Seit 1781 hält er sich dank eines Stipendiums in Rom auf und schließt sich dem Zirkel um Johann Heinrich Wilhelm Tischbein und Jakob Philipp Hackert an. Wie diese siedelt er schließlich 1785 nach Neapel über. Tischbein, der die Reise mit Goethe nicht antreten kann, vermittelt ihn als Landschaftszeichner an Goethe, der das bildnerisch anders als die römische Campagna noch wenig erschlossene Sizilien als Inbegriff der italienischen Seele und des griechisch-antiken Einflusses zu entdecken bereit ist. Anfang Mai weilen die beiden in Taormina, wo Kniep die Küste und vor allem das antike Theater zeichnerisch festhält, wie Goethe in seinem Reisetagebuch schreibt. Im Anschluss an die Sizilienreise vermittelt Goethe Kniep bedeutende Aufträge für großformatige Veduten, die u.a. über die Herzogin Anna Amalia Eingang in die Weimarer Graphischen Sammlungen finden; mit über 60 Zeichnungen beherbergen diese einen Großteil der in Sizilien als Begleitung Goethes entstandenen Blätter. [KT] Aufrufzeit: 10.06.2023 - ca. 17.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONChristoph Heinrich Kniep 1755 Hildesheim - 1825 Neapel Sizilianische Küste bei Taormina. 1787. Pen and ink drawing, with wash. On laid paper (with truncated watermark 'Crowned lilly', and 'C & I Hon[..]' below). 40.3 x 55 cm (15.8 x 21.6 in), the full sheet. PROVENANCE: Presumably Joachim Gustav Heinrich Winckler Collection (born in 1822), Hamburg/London (with the collector's stamp in bottom left, Lugt 2702). Private collection Southern Germany (presumably acquired in 1979). LITERATURE: Karl & Faber Munich, 150th auction, November 28, 1979, lot 42 (offered as a Jacob Philipp Hackert). Cf. Georg Striehl, Der Zeichner Christoph Heinrich Kniep (1755-1825). Landschaftsauffassung und Antikenrezeption, Hildesheim et al 1998, cat. no. 61 (black-and-white illu. 152). Christoph Heinrich Kniep's artistic career and his repertoire of motifs are closely linked to Johann Wolfgang von Goethe and his trip to Sicily in 1787. Thanks to a scholarship, he had been in Rome since 1781 and joined the circle around Johann Heinrich Wilhelm Tischbein and Jakob Philipp Hackert. Like them, he finally moved to Naples in 1785. Tischbein, who was unable to embark on the journey with Goethe, recommended him to Goethe as a landscape draftsman, who was ready to discover Sicily, which was still little far less explored artistically than the Roman Campagna, as the epitome of the Italian soul and the influence of ancient Greece. At the beginning of May, the two stayed in Taormina, where Kniep drew the coast and, above all, the ancient theater, as Goethe wrote in his travel diary. Following the trip to Sicily, Goethe helped Kniep to important commissions for large-format vedutas, which found their way into the Weimar Graphic Collections through, among others, duchess Anna Amalia. With more than 60 drawings, they house a large part of the sheets created during the time with Goethe on Sicily. [KT] Called up: June 10, 2023 - ca. 17.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Three unframed sketches, after L.S. Lowry and including Ink drawing of a Foundry, Charcoal drawing of a figure walking past iron railings and another titled "Self Portrait" (all bearing signatures)

Cornelia Schleime (*1953 Berlin), Figurinen vor gelbem Hintergrund, 1989, Mischtechnik/ Zeichnung/ Aquarell/ Gouache 41 x 100 cm. Cornelia Schleime begann nach einer Ausbildung zur Friseurin und Maskenbildnerin im Jahr 1975 in Dresden das angestrebte Studium der Grafik und Malerei. Mit Arbeiten wie den sogenannten Horizontebildern, Tusche auf Papier, sorgte sie für Aufsehen und insbesondere ihre gefesselten Frauenfiguren, mit denen sie die Stellung der Frau in der DDR kritisierte, sorgten für heftigen Widerspruch. Mit ihrer Teilnahme an der Türenausstellung und den dabei aufgeführten Körperaktionen handelte sie sich 1981 endgültig ein Ausstellungsverbot ein und wurde genötigt, ein Papier für die Ausbürgerung des gleichsam in Ungnade gefallenen Liedermachers Wolf Biermann zu unterschreiben. Da sie sich weigerte, beantragte sie ihre Ausreise nach West-Berlin. / Cornelia Schleime (*1953 Berlin), Figurines against a yellow background, 1989, mixed media / drawing / watercolor / gouache 41 x 100 cm. Cornelia Schleime began after an apprenticeship as a hairdresser and make-up artist in 1975 in Dresden the intended study of graphics and painting. With works such as the so-called Horizontebildern, ink on paper, she caused a sensation and especially her bound female figures, with which she criticized the position of women in the GDR, caused fierce opposition. In 1981, her participation in the Doors exhibition and the bodily actions she performed there finally earned her an exhibition ban and she was forced to sign a paper for the expatriation of the singer-songwriter Wolf Biermann, who had fallen out of favor with the GDR. Since she refused, she applied to leave the country for West Berlin.

Zwei Aquarelle: Maria mit dem Jesuskind und Heiligen, wohl Italien, 18. Jh., Tuschezeichnung über Rötel, 19 x 17,5 cm; Moses mit der ehernen Schlange vor dem Volk der Israeliten, Aquarell- und Tuschezeichnung, signiert, verso Hinweis auf Antonio Gennaro (Januario) (1679-1744) sowie verso bez. "Prov: Dr.M.J.Binder, Christie's 1928", ca. 11 x 11 cm, beide Altersspuren. / Two watercolours: Mary with Jesus and Saints, probably Italy, 18th century, ink drawing over red chalk, 19 x 17.5 cm; Moses with the Serpent and the People of Israel, watercolour and ink drawing, signed, on verso reference to Antonio Gennaro (Januario) (1679-1744) as well as inscribed on verso "Prov: Dr.M.J.Binder, Christie's 1928", ca. 11 x 11 cm, both traces of age.

Konvolut aus fünf kleinen figürlichen Tuschezeichnungen: vier höfische Szenen, 18. Jh., Tusche, Aquarell, teils Ritzungen: Zwei Hofnarren mit Hündchen; Hofnarr und Hofdame; in der Schreibstube, zwei Herren beim Duell, je ca. 8,3 x 12,2 cm; zwei Fischer in kleinem Boot, Aquarell über Tuschezeichnung, dat. "1806", bez. "Stadtland", 8,5 x 18 cm; alle Altersspuren. / Set of five small figurative ink drawings: four courtly scenes, 18th century, ink, watercolour, partly incised: Two court jesters with little dog; court jester and court lady; in the writing room, two gentlemen in a duel, each c. 8.3 x 12.2 cm; two fishermen in a small boat, watercolour over ink drawing, dat. "1806", inscribed "Stadtland", 8.5 x 18 cm; all signs of age.

Konvolut aus vier Zeichnungen: Skizze einer liegenden Dame, Rötel und Kohle, am Passepartout bez. "Watteau", 16,5 x 12,5 cm; Tanzendes junges Mädchen, Figurenstudie, Tusche- und Bleistiftzeichnung, ebenfalls Anlehnung an Watteau, 23 x 14 cm; Wappendarstellung mit Segelschiff, bez. "Armoiries de la Famille Aouga de Cortaillod et de Bosle.", Gouache/Aquarell, 24,5 x 21 cm; Kaiserportrait von Putten und Ornamenten gerahmt, Tuschezeichnung, 6,4 x 17,4 cm, alle Altersspuren. / Composite of four drawings: Sketch of a reclining lady, red chalk and charcoal, inscribed "Watteau" on the passe-partout, 16.5 x 12.5 cm; Dancing young girl, figure study, ink and pencil drawing, also based on Watteau, 23 x 14 cm; Coat of arms depiction with sailing ship, inscribed. "Armoiries de la Famille Aouga de Cortaillod et de Bosle.", gouache/watercolour, 24.5 x 21 cm; portrait of the emperor framed by putti and ornaments, ink drawing, 6.4 x 17.4 cm, all signs of age.

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUPPER DANCE Inscribed by Margaret Morris 'J. D. Fergusson / Early Café drawing 1902 / with love & blessings / from Meg & Fergus / Glasgow May 1965' on the backboard, watercolour, brush and ink on paperDimensions:45cm x 31cm (17.75in x 12.25in)Provenance:Provenance:Given by Margaret Morris to James and Martha Arnott in 1965 and thence by descent to the present ownerExhibited:The Fine Art Society Ltd, London, John Duncan Fergusson (1874-1961): A Centenary Exhibition, 10 September-4 October 1974 and tour to Kelvingrove Art Gallery and Museum, Glasgow and The Fine Art Society Ltd, Edinburgh , no.114The Scottish Arts Council Gallery, Edinburgh, The Need to Draw: 20th-Century Scottish Artists at Work, 22 November-14 December 1975, no.22Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourist Series: J. D. Fergusson, 7 December 2013-15 June 2014Literature:Jean Geddes and Margaret Morris, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson, Blackie, Glasgow, 1974, repr. b/w p. 25Note: Note: John Duncan Fergusson and Margaret Morris first met Martha Lawrence Grant (1916-96) when the latter attended Morris’s dance classes in Glasgow in the 1930s. She became a vital figure in Margaret Morris Movement (MMM) and was in the process of establishing an MMM school in Aberdeen when World War Two began. At that point, Fergusson was primarily based in Paris, whilst Morris spent most of her time in London; the conflict resulted in their move to 4 Clouston Street, Glasgow.Fergus and Meg, as they were affectionately known, galvanised the city’s art scene. They were founder members of the New Art Club in 1940, which aimed to stimulate debate and to create affordable exhibiting opportunities. Two years later, Fergusson became founding President of the Club’s successor, the New Scottish Group, which staged eight exhibitions of its members’ work between 1943 and 1956.It is believed that Martha met James Fullarton Arnott (1914-82) through the New Art Club. James was an Assistant Lecturer in the English Department at the University of Glasgow, where he was to become Emeritus Professor of Drama. The couple formed a lifelong creative friendship with Fergus and Meg and were married in 1945. Their son Alan was born in 1948 and he has recalled:The impact of Fergus and Meg on the artistic life of post-war Glasgow, and indeed Scotland, was immense. Painters, sculptors, potters, designers, dancers, actors and musicians all thrived in the atmosphere of post-war Glasgow. While Meg and Fergus provided the artistic inspiration, Mum and Dad provided backing, encouragement and support. During James’s illustrious career, he devised the Drama course at the re-opened Royal Scottish Academy of Music and Drama (RSAMD) and in 1966 was appointed the first Head of the Drama Department at the University of Glasgow. Martha helped to establish and run the RSAMD Library, as well as designing and creating costumes for Academy and University productions.With his knowledge of arts funding and art world contacts, James provided vital support in Meg’s launching of the Celtic Ballet, Scottish National Ballet and Scottish Ballet companies. In her turn, Martha taught and danced at MMM Summer Schools and sat for Fergus, not least sharing modelling duties with Meg for his Glasgow-era masterpiece Danu, Mother of the Gods of 1952, now in The Fergusson Gallery, Perth.Alan has further explained:We holidayed in the South of France with them both in the 50s and with Meg in the 60s. They lived in Glasgow (in the West End) and were regular visitors to our houses in Saltcoats and then Glasgow – and we frequently visited them.Following Fergus’s death in 1961, Meg established the J. D. Fergusson Art Foundation to secure his legacy and to support living artists. Martha and James were founding committee members and Alan succeeded James on the committee in 1983. The Foundation’s aims were achieved with the opening of The Fergusson Gallery in Perth in 1992 and the launch of the J. D. Fergusson Arts Award Trust in 1995.Supper Dance (Lot 149) and Kelvin Valley (Lot 148) pay testament to this creative friendship. Both were given to the Arnotts by Meg in the 1960s and are beautiful examples from key periods in Fergus’s career. In 1907, he took the momentous decision to move from Edinburgh to Paris, which he described as ‘simply a place of freedom’. He immersed himself in the artistic, intellectual and social life of the French capital and made his reputation as a leading artist of the twentieth century during the six years he lived there before World War One. He particularly revelled in its bustling café and restaurant scene and Supper Dance is a beautifully accomplished image of the fashionable clientele whom Fergus enjoyed capturing in images of elegance and movement. His fluid draughtsmanship is clear in passages such as the realisation of the female dancer’s gown, whilst a lively composition leads the eye from the champagne in the foreground, to the dancing couple, to another observed in intimate conversation in the background.Kelvin Valley is a jewel of a painting, in which Fergus pays homage to the city which was the location for the final chapter of his international career. The Clouston Street flat overlooked Glasgow’s Botanic Gardens and was joined, via the River Kelvin, to Kelvingrove Park; these green spaces provided inspiration for the artist’s late, lyrical landscapes. He developed a distinct ‘Glasgow palette’ characterised by high-toned shades of green and pink, which were delicately and deftly applied to their supports in a gentle yet confident finale to the images of Princes Street Gardens, the Scottish Highlands and the South of France which preceded them.As Alan has concluded:Fergus was a lovely man. He treated children the same as everyone else and encouraged me to draw. Meg was full of life and energy and retained the strength and grace of a 20-year-old. There was great love and generosity of spirit amongst us all.

Mr Doodle (British 1994-), 'Untitled', unique pen and ink drawing on thick wove paper, signed 'The Doodle Man!' in black ink; sheet: 21cm x 15cmARR

Mr Doodle (British 1994-), 'Untitled', unique pen and ink drawing on thick wove paper, signed 'The Doodle Man!' in black ink; sheet: 20.5 x 15.5cmARRsheet: 20.5 x 15.5cmIn very good conditionNo knocks or tears to the sheetMinor creasing to top two corners of the sheetStored flat and not framed.

M.FABII  'Quintiliani de Institutione Oratoris...' Lugduni Apud Haeredes Simonis Vincentii 1538, twelve 'books' bound as one, woodcut headers, vignette on title page, rebound, quarter vellum with marbled boards, together with 'Catechismus Ex Decreto Concilii Tridentini, Ad Parochos Py v. Pont. Max iussu editus.....' Bergomi 1587. woodcut vignette to title page, inked drawing verso which has created two holes in the vignette, contemporary ink inscription inside ffep, initial pages nibbled, bookplate for 'Biblioteca Bardi-Serzelli, full vellum, the ribbon ties missing. 12 x 9 cms (2)This is a systematic exposition of the Tridentine Creed, the confession of faith required of Catholic clergy by the Papal Bull of Pius IV in 1565 following the last session of the Council of Trent in 1563. Pius V, his successor approved this text.  (2)

SVEN BERLIN. * Portrait of Jacque, seated. Ink drawing. Signed Sven Berlin & dated '49. 41 x 28cm, unframed.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.  WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Sarah Hollebone, pastel drawing ' Marianna ', 39cms x 25cms, gallery label verso, together with an ink and watercolour drawing, study of two horses, ' Corporal ' and ' Cadet ', signed M.C. Hollebone and dated '97, 22cms x 27cms, framed

Rowland Hill, signed ink and wash drawing, two figures in a tree lined street, 36cms x 50cms, unframedPlease see further image.

Gregory Davies, oil on board, titled ' Appletree in Sunlight ', signed and dated 1980, bearing label verso, with purchase receipt, 33cms x 29cms, together with an antique map, ' The Road to Truro ', by E. Bowen, pen and ink drawing, titled ' She pulled the boat towards her ', framed, 16cms x 28cms, bearing label verso

Desmond Morris, British b.1928 - Drawing No.5 Extravagant Friends, 1988; watercolour, gouache and ink on marbled paper, signed with initials and dated lower left 'DM 88', 20.2 x 33 cm (ARR)Provenance: with Shippee Gallery, New York, no. 38;The Collection of Litsa Tsitsera, New York/Virginia (according to previous cataloguing of the work);private collection Literature:Silvano Levy, 'Desmond Morris: Analytical Catalogue Raisonné 1944-2000', Pandora: Antwerp, 2001, cat.no. 1988/5, p.325Note: Litsa Tsitsera was an important Greek-born patron of the arts and collector of Post-War art and in particular works by Theodore Stamos, Chryssa and František Kupka. Many works from this collection were sold by Christies, New York in 2022.This work is part of a series of 100 mixed media drawings created in 1988, where the artist used what he termed a 'modified marbling' technique using thinned oil paint on water for the background.

Desmond Morris, British b.1928 - Drawing No.21 Memorial Figure, 1988; watercolour, gouache and ink on marbled paper, signed with initials and dated lower right 'DM 88', 33 x 20.4 cm (ARR)Provenance:with Shippee Gallery, New York, no. 44;The Collection of Litsa Tsitsera, New York/Virginia;private collectionLiterature:Silvano Levy, Desmond Morris: Analytical Catalogue Raisonné 1944-2000, Pandora: Antwerp, 2001, cat.no. 1988/21, p.328Note: Litsa Tsitsera was an important Greek-born patron of the arts and collector of Post-War art and in particular works by Theodore Stamos, Chryssa and František Kupka. Many works from this collection were sold by Christies, New York in 2022. This work is part of a series of 100 mixed media drawings created in 1988, where the artist used what he termed a 'modified marbling' technique using thinned oil paint on water for the background. 

A file of memorabilia relating to the renowned artist Harold Riley and projects conducted for Manchester United's legendary manager Sir Matt Busby and including various signed items, i) an artist's proof for a Harold Riley Sketchbook featuring a portrait of Sir Matt Busby, signed by both the artist and the subject; ii, iii & iv) three copies of a booklet produced for Sir Matt's Testimonial recording a conversation between him and Harold Riley, the front cover featuring the same Harold Riley portrait artwork as described in the previous item, one signed by Harold Riley, one signed by Riley and additionally by Sir Alex Ferguson, the other unsigned; v) a MUFC Former Players Sportsmans Charity Dinner menu featuring Matt Busby in the Harold Riley cover artwork, the reverse, however, with an original pen & ink drawing signed by Riley, dated '93 and titled "The Old Stretford End"; vi) menu for the opening of the Sir Matt Busby Suite at Manchester Airport, featuring a Riley portrait artwork, signed by the artist, dated '95 and with presentation inscription; vii) a silk ladies' scarf designed by Harold Riley for the Sir Matt Busby Testimonial Match and featuring thistle, shamrock and Lancashire red roses; viii) Sir Matt Busby Testimonial Match brochure produced by the MUFC Former Players' Association; ix) Harold Riley printed artwork for the Sir Matt Busby Testimonial; x) National Sporting Hall of Fame brochure autographed inside by Harold Riley, Sir Matt Busby, George Best, Bobby Charlton & Denis Law; xi) Harold Riley Soccer Sketched booklet, signed to the cover in pencil by the artist with dedication; xii) a booklet for the Investiture of Sir Matt Busby as a Freeman of Manchester, signed inside by Sir Matt; xiii) a Harold Riley pen & ink doodle of The Old Stretford End signed by the artist and additionally by Bryan Robson, Nobby Stiles and Norman Whiteside; xiv) Riley Archive of Christmas Cards, unsigned, (14)

1984 Olympic poster 91 x 45cm Oxford and Cambridge poster, 37 x 52 cm, Ferguson ink drawing of Sir Steve Redgrave and Matthew Pinsent, 23 x 43cm and Skandia Team GBR Olympic and Paralympic Squad, 2008, 46 x 56cm, (4)

ROBIN GUTHRIE (1902-1971) PORTRAIT OF A YOUNG GIRL, a seated study of a female figure, signed bottom left, ink on paper, approximate size 35cm x 29cm, Condition Report: drawing has been removed from the frame to check its condition, light discolouration to the paper, foxing to the mount, underside of the glass is heavily stained but has not affected the drawing (artist resale rights apply)

▴ Sir Quentin Blake CH (b.1932)'Louis XIV and Charles VIII' - preliminary drawing for a poster for Clarks Shoessigned 'Quentin Blake' and inscribed with title, pen and ink and watercolour30.5 x 20cmCondition ReportFramed size 48.5 x 38.5cmMount may be acidic. No visible condition issues. Not viewed out of glazed frame.

Wilhelm BECKER. Ansicht der Burgruine Falkenstein im Taunus, mit Spaziergängern.50 cm x 67 cm. Aquarell und Federzeichnung in Tusche und Sepia, auf Velin, rechts unten signiert und datiert mit "W. Becker 1866" in Pfeifenschnitt-Rahmen mit originaler Lüstervergoldung auf schwarzem Bolus und Blatt-Silber, 23 Karat Blattgold und stellenweise mit Antikgold bronziert. Versand kann organisiert werden.Wilhelm BECKER. View of the ruins of Falkenstein Castle in Taunus, with walkers. Watercolor and pen and ink drawing in ink and sepia, on wove paper (papier vélin), signed and dated lower right "W. Becker 1866" in pipe-cut frame with original luster gilding on black bolus and silver leaf, 23 carat gold leaf and bronzed in places with antique gold. Shipping can be organized.

The World of Gilbert & George. The Storyboard. Preface by Gilbert & George. Introduction by Marco Livingstone. London, Enitharmon Press 2001. Mit zahlreichen Illustrationen nach Tuschzeichnungen. Originalbuckramband mit goldgeprägten Titeln in originaler Kassette.Exemplar 20 von 150 der Vorzugsausgabe (Gesamtauflage 1.000) mit einer beigelegten signierten Tuschzeichnung (»unique ink-wash drawing«, 21 : 29 cm). - Das Buch auf dem Vorsatzblatt mit Widmung in roter Tinte »Lots of Love from Gilbert & George«. - »The World of Gilbert and George« enthält die 900 Zeichnungen mit Texten aus dem gefeierten Film des Künstlerduos von 1981.21,7 : 30,0 cm. X, [2], 459, [9] Seiten. - Vorderes Innengelenk etwas angeplatzt.

Tim Ruscoe. “Gloucestershire Old Spot”. Pen & ink drawing on paper. 30 x 42cms. Tim Ruscoe is a designer, cartoonist, illustrator and photographer, who has worked for a wide range of international clients.    

Michael Sheen. “Self-portrait cartoon”. Pen & ink drawing. 17 x 21.5cms.Michael Sheen is a Welsh award winning actor, television producer and political activist. He has worked extensively in theatre, film and TV, becoming better known as a screen actor since the 2000s, in particular through his roles in various biographical films and recent TV appearances. 

AN INDIAN MINIATURE DRAWING OF A PRINCE AND PRINCESS ENJOYING A MUSIC RECITALIndia, Delhi, 18th century. Ink and watercolor on paper. A Ragamala illustration to the musical mode Pancham Ragini, depicting a prince and princess seated in a pavilion on a terrace, a female attendant holding a fly-whisk behind them, the royal couple listening to two female musicians playing string instruments.Inscriptions: To the top border, 'Pancham Ragini'. To reverse with a lengthy inscription and (in English), 'Indian. Mughal. 42:16.481'.Provenance: Collection of Arthur B. Michael, 1942. Albright-Knox Art Gallery, Buffalo, acquired from the above, accession number 42:16.481. The reverse of the mat with a handwritten paper label from the Albright-Knox Art Gallery, stating the accession number and, “Indian, mid 18th century. Group of People. […] watercolor and ink on paper […] Bequest Arthur Michael”.Condition: Good condition with old wear, minor soiling, few small tears and losses, possibly with minuscule old touchups. Matted.Dimensions: Image size 12.6 x 8.3 cm, Folio size 16.3 x 11.8, Mat size 25.4 x 20.4 cmNote the extremely fine drawing, which holds up to even very strong magnification, and would have made appropriate coloration impossible at the time.Auction result comparison:Type: RelatedAuction: Sotheby's London, 6 October 2015, lot 91Price: GBP 6,250 or approx. EUR 9,000 converted and adjusted for inflation at the time of writingDescription: Two studies for Ragamala illustrations, Basohli, circa 1680Expert remark: Compare the related material, verso, and recto of the same folio. Note the lost consists of two studies