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.
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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.
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: 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.
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)
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.
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
Jack Butler Yeats RHA (1871-1957)I Will Not Sit on the Grass, She SaidIndian ink and watercolour, 11.3 x 15cm (4½ x 6")SignedProvenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the present owner.Jack B. Yeats produced his greatest volume of watercolour work during a period (c. 1897-1910) when he was also very active as a cartoonist and illustrator. So, as much as the eye is drawn to the vivid application of finely judged colour, it is the boldness of line, the clarity in the rendering, and occasionally also the humour, that characterizes much of this collection. The skills of draughtsmanship which he undoubtedly possessed had been honed, without tuition, during the hours of obsessive sketching and doodling with which he had occupied himself from an early age. He excelled as a black-and-white artist, and producer of fine watercolours and drawings, during the period that preceded his entry into the world of oil painting with which he is more commonly associated (though he would continue to produce work in all these areas for many years). He was living in England, the country of his birth, throughout this time, and one can detect traces of some of the great English graphic artists, such as George Cruikshank and Phil May, though he evolved an idiosyncratic and recognizable style all his own from early on. A hint of the bizarre, suggestive of Francisco Goya or James Ensor, add a mysterious flavour to works such as the wonderful pencil and watercolour piece, Blue Jackets in Fancy Dress, also known as Men-o-Wars in Fancy Dress (Costume),(Lot 52) which depicts an unusual group of figures ascending a quayside ladder in Dartmouth.There were regular trips back to Ireland, and in dozens of compact sketchbooks he documented the characters and incidents of small-town life, many related to fairgrounds and to horse racing. Hilary Pyle tells us that these sketches, themselves often in ink and watercolour, would form the basis of larger works completed at home in his Devon hideaway, Cashlauna Shelmiddy. Losing nothing in the transition, the finished works retain the spontaneity and raw spark of the quickly rendered sketchbook drawings. Horses appear in a number of the pictures in this collection (The Race (Lot 47); The Baker Rode a Pie-Bald (Lot 51)), and they would be central to his art throughout his life. They could function metaphorically, particularly in the later work, but Yeats could also be more direct in his celebration of their sheer physicality, power, and speed. He was equally fascinated by the enigmatic riders, steely-eyed protagonists in many drawings and paintings, and by the bustle of the social worlds in which they moved. The beautifully observed pen and ink drawing of The Crown and Anchor Man (Lot 48) is typical of the unique characters- the street performers and race day vendors, circus and fairground entertainers- to whom Yeats was repeatedly drawn during this period.Yeats’s first solo exhibition of watercolour sketches, the majority of which were executed in Devon, was held at the Clifford Gallery in London in 1897. In 1899 he held another exhibition of his work, titled “Sketches of Life in the West of Ireland,” at the Walker Art Gallery, again in London, repeated later that year at Leinster Hall in Dublin. Throughout this period Yeats alternated between galleries in these two cities, averaging one solo show annually up to 1914. He subscribed to a press cuttings agency- Romeike and Curtice of the Strand- and pasted his notices and reviews into a scrapbook, which attests to the largely positive response that his watercolour work received at the time. A critic for the Daily Express, on visiting the first Dublin show, wrote that “(n)o one, it seems to us, has studied the humbler side of Irish life with such insight and intelligence, and certainly no Irish artist has ever given us so graceful and fresh a representation of its pathos and humour.” Commenting on another Dublin exhibition two years later, a reviewer for the United Irishman remarks, with some prescience, that “these pictures will some day be looked upon as important historical records.” Indeed there is an almost documentary approach to many of his subjects, unsurprising given the journalistic collaborations with J.M. Synge that saw them render, in prose and illustration, the rawness of life in Mayo and Connemara for the Manchester Guardian in 1905. Yeats would return again and again to the rural sites of sporting competition and public entertainment, often with an eye for the onlookers, as in the busy and endlessly appealing composition of A Good Winner (Lot 50). Many works from this period combine observation from real life with the mischievous caricatural twist that typified much of the material he was also producing for the humour periodicals and early comics. The suggestion of gently ribald comedy in I will not sit on the grass, she said (Lot 46) exemplifies the playful interplay between caption and image that Yeats imported into the art gallery from those popular contexts. The strong outlines and striking compositions evident in these pieces, for example Figure of a Young Woman in a Landscape (Lot 53) and Beggar at the Door (Lot 49), also recall the well-known drawings that appeared in printed form in the series A Broad Sheet (1902-03) and later A Broadside (1908-1915) published respectively in London by Elkin Mathews and in Dublin by Dun Emer/Cuala Press.Michael Connerty, April 2023Lit: Hilary Pyle. Jack B. Yeats- His Watercolours, Drawings and Pastels. Dublin: Irish Academic Press. 1992
An 18th century pen and ink drawing of a saintly figure holding a crucifix, laid against a rock on a mat under some trees. After an old master. Indistinctly signed in the lower right corner. Later framed and glazed. Drawing is 27cm wide and 20cm high. Frame is 42cm wide and 35cm high. Some creasing to the paper.
RASCH-NÄGELE, LILO (1914-1978), "Paar in Rokokogewändern", aquarellierte Tuschfederzeichnung/Papier, u.li. mit Bleistift signiert, u.re. Reste des Nachlassstempels, HxB: Passepartoutausschnitt ca. 25x18,5 cm (44,5x37,5 cm mit Rahmen). Minim. Altersspuren. Im Passepartout hinter Glas gerahmt. | RASCH-NÄGELE, LILO (1914-1978), "Couple in rococo robes", watercolor pen and ink drawing/paper, u.l. signed in pencil, u.re. Remnants of the estate stamp, HxW: passe-partout cut-out approx. 25x18.5 cm (44.5x37.5 cm with frame). minimum signs of age. Framed behind glass in a passe-partout.
European Travel Journal.- Glyn (Florence, wife of St Leger-Richard Glyn, younger son of the banker George Glyn, of Bramble Hill Lodge, Lyndhurst, New Forest, 1825-87) Journal of travels to France, Italy and Switzerland, autograph manuscript, 73pp. excluding blanks, small pen and ink illustration, 21 small original photographs laid down, some brown staining not affecting legibility, original morocco, rubbed, brass clasp, sm. 4to, 1864-65.⁂ "March 6 Tuesday [1864] Lady Holland gave a dinner to Prince Arthur [first duke of Connaught and Strathearn (1850-1942), governor-general of Canada]... Dr Bishop wd. not let Puchy go... There were 20 at dinner in the long yellow drawing room... Prince Arthur very small & a pretty likeness of the Queen, perfect manners & not the least dry & saying just the right things to every lady, we were all delighted with him he was dying to stay but the Queen's orders were stringent & in spite of a violent storm he was packed off." - Florence Glyn.
Drawing.- Bloemaert (Abraham) Oorspronkelyk en vermaard konstryk tekenboek, 8 parts in 1, title in red and black with engraved vignette, engraved portrait with ochre chiaroscuro woodblock overprint, 174 engraved plates, of which 8 with ochre chiaroscuro woodblock overprint, manuscript inscription in ink to front endpaper, lacking engraved dedication, some light finger soiling and the odd spot to blank plate margins, a few small marginal tears,contemporary vellum, toned, spine ends and corners a little worn, folio, Amsterdam, Reinier and Joshua Ottens, 1740.⁂ Compiled by Frederik Bloemaert, from his father's drawings and studies, and originally published in 1650 under the title, Artis Apellae Liber. The 1740 edition of the tekenboek includes over forty additional plates, and the chiaroscuro woodblock overlay is a technique in engraving that the Bloemaerts pioneered. Studies of heads, limbs, nudes, children, individual and elaborate figures or groups of figures, scenic representations and animals.
Edmund Blampied RE (1886-1966), Two caricatures "Take no notice darling - the nights's still young - that's only half of past one", sepia ink on paper, unsigned, framed 6 3/8 x 10 3/8in. (16.2 x 26.4cm.); and Cherub on Horseback with a flag with the date 1948, black ink on paper, signed lower left, framed 10¾ x 7¾in. (27.3 x 19.7cm.). (2) * Condition: Sepia ink caricature badly faded. Black ink drawing in good condition. Acidic mounts.
John Sell Cotman (1782 - 1842), a collection of eighteen early 19th century large etchings, comprising, ''Woman Drawing Water from a Well', 'Part of East Barsham House', 'Rivaux Abbey, York', Popham 10, 'West End of Braysworth Church, Suffolk', Popham 14, 'East End of Howden Church, Yorkshire', Popham 25, 'The North West Tower Yarmouth', Pophamk 132, 'Wallington Hall', Popham 159, 'Castle Rising Castle', Popham 155, 2 x 'Tower of West Walton Church', Popham 163, 'Walsoken Church', Popham 181, 'Interior of Walsoken Church', Popham 182, 'Interior of the Chancel of Walsoken Church, Norfolk', Popham 183, 'Stone Vault in Langley Abbey', Popham 188, 'Foreign Street Scene with Figures', Popham 370, 'Thorpe Chapel St Michael's in Coslany Church, Norwich', 'South Gate Lynn' and 'South Gate Yarmouth, all within card mounts, some with later ink inscriptionsThe Cotman family collection
Early 19th century English school, two ladies dancing, ink drawing on paper, 13 x 8 cm, framed and glazed, frame 39.5 x 36 cm; an 18th century ink sketch of flautist, 20 x 9 cm, framed and glazed, frame 32 x 20 cm and a small ink sketch of figures on a river crossing, 6.5 x 9 cm, framed and glazed, frame 23.5 x 25 cmQty: 3
Frederick George Cotman RI. ROI. (British, 1850-1920), 'Portrait of Miles Edmund Cotman After Joseph Geldart', titled and signed within the mount, charcoal and body colour, inscription ink and pencil 'C.F.G Cotman Diary April 15 1867 when we finished this drawing from Joseph Geldart's original drawing in his Father's possession; F.G.C was only 17 when he did this drawing', 29cm x 19cmThe Cotman Family
Coldplay: Original Handwritten Lyrics For 'Paradise' By Chris Martin, 2011, one page of lined notepaper with handwritten lyrics by frontman Chris Martin for the band's single 'Paradise' from their album 'Mylo Xyloto' released in 2011, the title Paradise written in bubble-writing in black ink above 18 lines of lyrics in blue ink, with an additional butterfly drawing by the title, the first two lines scribbled out, page mounted, framed and glazed, accompanied by a copy of the email regarding the provenance, sheet approx 8in x 10in (20cm x 25.5cm) Footnotes: Provenance: Won by the vendor in 2011 through a Coldplay competition by Parlophone on Play.com's Facebook page. An image of this lyric sheet is also featured in the booklet which accompanied the LP. For further information on this lot please visit Bonhams.com
He-Man And The Masters Of The Universe: An Original Animation And Production Drawing Of He-Man Breaking From His Chains, 1980s, comprising a gouache on celluloid animation cel, inscribed with production numbers and signed in black ink by producer Lou Scheimer and voice actor for He-Man John Erwin; a pencil production drawing captioned AND RIPS LOOSE, signed in pencil by Lou Scheimer; and a 8in x 10in photograph signed To Neil by the voice actor for Skeletor, Alan Oppenheimer, 12 1/2in x 10 1/2in (32cm x 26.5cm) (3) For further information on this lot please visit Bonhams.com
A document issued by the British Government granting John Isaac Hawkins and Sampson Mordan to apply for letters patent, for improvements on Pencil-Holders or Port Crayons and on pens for the Purpose of facilitating writing and drawing by rendering the frequent cutting or mending of the points or nibs...., comprising two sides of text in ink on a single folded document with seal to margin and signature of King George IV and the Home Secretary Robert Peel, dated 21 November 1822
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