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Willy Robert Huth, Stillleben, signiertes Aquarell von 1969Willy Robert Huth, 1890 Erfurt - 1977 Amrum, 1923 Teilnahme an der „1. deutschen Expressionistenschau“ in der New Yorker „The Andersen Art Galleries“ teil, gemeinsam mit u. a. Paul Klee, Christian Rohlfs, Erich Heckel, Otto Mueller, Heinrich Nauen und Emil Nolde. Ende der 1920er Jahre wurde er Mitglied der Berliner Secession und des Deutschen Künstlerbundes. 1947-57 Professur an der Hochschule für Bildende Künste in Berlin; Gründungsmitglied der Berliner Neuen Gruppe. Hier: Stillleben mit Krügen und Tasse, Aquarell/Papier, 10,5 x 15 cm, monogr., dat. (19)69, auf Papier angebracht, unter P.p. (Pachen Inv. Nr. 1822)

Kurt König, "Mädchenakt", kubistisches Ölgemälde von 1973, gerahmtKurt König, 1915 Ludwigshafen - 1999 Landau, deutscher Maler, Studium bei Prof. Trummer und Paul Berger-Bergner, weiterhin nahm er Zeichen- und Malunterricht bei einem Schüler von Paul Klee. Die Kunststiftung der Stadt Landau hat Werke von Kurt König in ihrem Bestand, sowie zahlreiche private Sammlungen in der Pfalz und im In- und Ausland, hier: In kubische Formen zerlegter menschlicher Körper "Mädchenakt", Öl/ Lw., 130 x 90 cm, l. u. monogr. u. dat. 1973, verso bez. u. voll signiert mit Datierung und Werk-Nr. 150, gerahmt

Kurt König, Sammlungsnachlass mit 4 kleineren Ölgemälden & 3 Zeichnungen, alle gerahmtKurt König, 1915 Ludwigshafen - 1999 Landau, deutscher Maler, Studium bei Prof. Trummer und Paul Berger-Bergner, weiterhin nahm er Zeichen- und Malunterricht bei einem Schüler von Paul Klee. Die Kunststiftung der Stadt Landau hat Werke von Kurt König in ihrem Bestand, sowie zahlreiche private Sammlungen in der Pfalz und im In- und Ausland, hier: 4 kleinere Ölgemälde der 1970er Jahre (17 x 22 cm bis 24 x 29 cm), die den Einfluss Paul Klees und seines Schülers zeigen sowie 3 Zeichnungen von 1967, ca. 20 x 12 cm, alle Arbeiten sign. und gerahmt

Max Bill, Geometrisch-konkrete Komposition, Farbsiebdruck von 1970, sign. Max Bill, 1908 Winterthur - 1994 Berlin, Schweizer Architekt u. Künstler mit Schwerpunkten in bildender und angewandter Kunst - einschließlich Bildhauerei, Grafik, industrieller Formgestaltung, Malerei (Vertreter der Zürcher Schule der Konkreten) und Typografie, von 1927-1928 studierte er in Dessau am Bauhaus, wo zu dieser Zeit Josef Albers, Wassily Kandinsky, Paul Klee, László Moholy-Nagy und Oskar Schlemmer lehrten, hier: Geometrisch-konkrete Komposition aus Quadraten und Rechtecken in 5 Farben, Farbsiebdruck von 1970, r. u. sign. u. dat., in sehr guter Erhaltung

PAUL KLEE (1879-1940)Gartenbild signed 'Klee' (lower right) and further inscribed and dated '1920/199 Gartenbild' (on the artist's mount)oil, gouache and pen and ink on paper mounted on card10.9 x 34.9cm (4 5/16 x 13 3/4in). (image size) 16.3 x 38.3cm (6 7/16 x 15 1/16in). (sheet size)Painted in 1920Footnotes:ProvenanceLily Klee Collection, Bern (inherited from the artist in 1940, until 1946).Klee-Gesellschaft, Bern.Karl Nierendorf Collection, Cologne, Berlin and New York (acquired from the above in 1947).Karl Nierendorf Estate, New York. Solomon R. Guggenheim Museum, New York (acquired from the above in 1948).Galerie Beyeler, Basel, no. 7027 (acquired from the above).Gallery Stephen Hahn, New York (acquired from the above in 1972).Nantenshi Gallery, Tokyo (acquired by 1977).Fischer Fine Art Ltd., London.Private collection, Japan.Private collection, Japan; their sale, Sotheby's, London, 25 March 2021, lot 145. Private collection, UK (acquired at the above sale).ExhibitedTokyo, Nantenshi Gallery, Paul Klee, 30 May – 14 June 1980.Kamakura, The Museum of Modern Art, Paul Klee and his Travels, 9 February - 31 March 2002, no. 110 (later travelled to Morioka, Tsu and Matsumoto).LiteratureW. Kersten & O. Okuda (eds.), Paul Klee, Im Zeichen der Teilung, exh. cat., Dusseldorf, 1995 (illustrated p. 343).The Paul Klee Foundation (eds.), Paul Klee, Catalogue raisonné, Vol. III, 1919–1922, London, 1999, no. 2546 (illustrated p. 244).C. Rümelin, 'Klees Umgang mit seinem eigenen Oeuvre', in Paul Klee, Jahre der Meisterschaft 1917-1933, exh. cat., Munich, 2001.I thought I had come into the clear in art when for the first time I was able to apply an abstract style to nature.-Paul Klee, 1919Enchantment, nature, the sublime: each are fundamental elements of Paul Klee's alchemical formula. Throughout his storied artistic career, Klee fabricated multitudinous dreamlike, abstract worlds bespeaking his imaginative and expansive world view. In so doing, he defied categorisation, guiding rather than subscribing to the artistic movements within his orbit, among them Cubism, Surrealism, Abstraction and Expressionism. Talented across a wide range of techniques, and an accomplished musician and writer, Klee was a legendary fixture among the faculty of the Bauhaus School, which he was invited to join the year he completed the present work. In Gartenbild, Klee invites the viewer into an abstract arcadia, intimately enclosed within its horizontal composition and twisting fecund forms. Wavering, expressive lines of ink depict undulating hills and lush vegetation that seem to breathe and bloom with a kind of terrestrial passion. The viewer's eye journeys through the winding adventure of this artistic narrative, as the snow-capped mountains beyond – a nod to Ernst Ludwig Kirchner's epic landscapes – grace the scene with a legendary force. Upon this, Klee's loaded brushstrokes of deep, blushing pinks and bright yellows evoke a warm summer's day, with the delicate light greens of the foliage generating a serene, organic tonality. Klee's mastery as a colourist resounds in the coordination of his vibrant palette, tied together in the symphonic harmony of his rhythmic brushstrokes and curling lines. Indeed, like Wassily Kandinsky, music was as important a lodestone to Klee as colour, light and abstraction. In 1917, he wrote, 'polyphonic painting is superior to music in that, here, the time element becomes a spatial element. The notion of simultaneity stands out even more richly' (Klee quoted in M. Baumgartner, A. Hoberg & C. Hopfengart (eds.), Klee & Kandinsky – Neighbours, Friends, Rivals, exh. cat., Munich, 2015). In addition, Gartenbild's unique superimposition of playfulness and enchantment upon symmetry and balance evidences Klee's liberated approach to design thinking, which influenced countless students of the Bauhaus School.The spiritual symbolism and historical significance of the hortus conclusus, or walled garden trope, further elucidates Klee's core artistic principles. Walled gardens in Medieval and Renaissance art, literature and architecture were often associated with ideas of spiritual transcendence, forming sacred spaces through which to commune with the divine. In the centre of such devices, a body of water or 'fountain of life' was often portrayed, hinted at in Klee's delicately rendered pool of blue toward the lower centre. Fittingly, gardening is a transient art, more ephemeral than painting or music, as its masterpieces grow, evolve and disappear. Studies of plants at different stages of growth are a fixture of Klee's comprehensive notebooks, in addition to his paintings and drawings. In Gartenbild, Klee explores these themes with a flourish of self-reflection, as the triple-leafed plants riff on Klee's own name, which translates in English to 'clover'. Klee's abstract approach to the hortus conclusus tradition culminates in a rushing allegory of his own personal cosmology, a testament to his lifelong fascination with growth, cultivation and metamorphosis.Indeed, the present work harks back to Klee's 1914 wanderings in Tunisia with August Macke and Louis Moilliet, which the artist recalled as truly liberating his approaches to nature and colour. In its tranquil, protective atmosphere, it generates a romantic zone far removed from the external realities of war. Holding close significance to the artist, Gartenbild remained in Klee's personal collection, thence passing to his wife Lily Klee upon his death. Soon after, it graced the illustrious collection of the Solomon R. Guggenheim Museum, New York, where it remained until 1972.For further information on this lot please visit Bonhams.com

GEORGES KARS (1882-1945)Das Gespräch (In der Loge) signed and dated 'Kars 13' (upper left)oil on canvas 40.8 x 33.6cm (16 1/16 x 13 1/4in).Painted in 1913Footnotes:The authenticity of this work has been confirmed by Rea Michalová.ProvenanceArnold Blome Collection, Bremen.Kunsthandel Uwe Michael, Bremen (acquired from the above). Private collection, Bremen (acquired from the above).ExhibitedMunich, Galerie Neue Kunst – Hans Goltz, Georg Kars: Gemälde und Zeichnungen, 26 October - 15 November 1913, no. 44 (titled In der Loge).Bremen, Kunsthandel Uwe Michael, 1979.Georges Kars was born to a German Jewish family, near Prague, in the Czech Republic in 1882. In 1899, he left for Munich where he befriended Paul Klee, Wassily Kandinsky, Eugen von Kahler and Jules Pascin, also studying with Franz von Stuck. With them, Kars would discuss and debate about Impressionism which had been dominating artistic circles, but now appeared to have limited expressive possibilities. Indeed, Impressionism sought to represent the subject with a realism based on the study of light, whereas Kars and his circle sought a way to represent an inner subjectivity.When Kars arrived in Paris in 1908, he moved to Montmartre, where he spent time with Marc Chagall, Suzanne Valadon, Maurice Utrillo, and Max Jacob. Around them, his work absorbed a Cubist influence but maintained an Expressionist sensibility. Gespräch (In der Loge) depicts a conversation between a man and a woman at the opera in evening dress, but the sharp angles and dramatic colour palette set a strange atmosphere of unease, reflected by the couple's pallid complexions. Their faces and bodies are distorted and exacerbated by diagonal lines that challenge the stability of the work, annihilate perspective, and create a dizzying sense of vertigo.During World War II, after Germany occupied Paris, Georges Kars left for Lyon, and then to Switzerland. After receiving news of the deaths of relatives, he committed suicide in 1942. To this day, Georges Kars remains an important figure of the Montmartre Avant-Garde and of Czech modern artists.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.. "Garten im Winter", verschneite Landschaftsansicht mit Häusern und Gärten, im Sieb monogr., unten links num. AP XIX/XXV, Farbserigraphie/Bütten, HxB: 50/68 cm. Leichte Altersspuren. Im Passepartout unter Glas gerahmt. Lit.: Ida Kerkovius, Werkverzeichnis der Serigraphien, Lithografien, Multiples, Museum der Stadt Kornwestheim, IKD 30, S. 61 mit Abb..

Kerkovius, IdaRiga 1879 - 1970 Stuttgart, Schülerin von Adolf Hölzel, am Bauhaus Weimar bei Kandinsky, Klee und Itten, Prof.. "Ohne Titel", Farbabstraktion, oben links monogr., Aquarell/Papier, HxB: 10,5/15 cm (Blatt). Farben min. verblichen. Im Passepartout hinter Glas gerahmt.

Maatsch, ThiloBraunschweig 1900 - 1983 Königslutter, Bildhauer, Maler und Grafiker, Mitbegründer der "Gesellschaft der Freunde junger Kunst", zu der Gruppe gehörten u.a. Paul Klee und Lyonel Feininger, Mitglied der "Novembergruppe". "Ohne Titel", Abstraktion, geometrisch-abstraktes Farbflächenbild in Schwarz, unten rechts monogr. und dat. 1974, Farbstift/Papier, HxB: 34/25 cm. Altersspuren, verblichen. Mit verglastem Rahmen.

After Paul Klee, Swiss (1879-1940) "Cubist Head," etching, No. 14 of 50, bears signature, approx. 17cms x 19cms (7" X 7 1/2") mounted, gilt frame. (1)

After Paul Klee, Swiss-German (1879-1940) "Hammanet mit de Moschee," cold. print, published ADAGP 1991, approx. 41cms x 38cms (16" x 15"), mounted. (1)

Buckman (David). Artists in Britain Since 1945, 2 volumes, new edition, Bristol: Art Dictionaries, 2006, colour illustrations, original cloth in dust jackets & slipcase, covers lightly rubbed to head & foot, large 4to, together with:Éditions Gallimard, publisher, Henri Matisse, Roman, by Aragon, 2 volumes, 1971, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, volume 1 front cover slightly dented with a small tear, covers lightly rubbed to head & foot, 4to, plusLanchner (Carolyn), Paul Klee, 1st edition, New York: The Museum of Modern Art, 1987, numerous colour & monochrome illustrations, some minor marginal toning, original cloth in dust jacket, covers lightly toned & rubbed to head & foot, large 4to, and other modern art reference & related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio QTY: (6 shelves)

HANS THIEMANN (1910 Bochum-Langendreer - 1977 Hamburg) Herbstliches ZitatÖl auf dünnem Leinen ganzflächig auf Holz kaschiert. 1947.50 x 68,7 cm. Unten rechts mit Pinsel in Schwarz signiert "Hans Thiemann" und datiert. Essen 60.Provenienz: Privatbesitz BerlinThiemann, der in den Jahren 1930 bis 1933 am Bauhaus in Dessau und Berlin als Schüler von Wassily Kandinsky und Paul Klee studierte, schöpfte eigenwillig aus dem Spektrum stilistischer Vorlagen und Inhalte ohne sich und seine Kunst allzu sehr festlegen zu wollen. Die wenigen realistischen Portrait- und Landschaftsbilder fertigte er aus finanzieller Not für den sofortigen Verkauf. Er selbst zählte sie nie zu seinem schöpferischen Werk, da sie seiner fantasievollen Ausdrucksweise widersprachen.

Bill, Max. Sammlung von 11 seltenen Ausstellungskatalogen, 1 Ausstellungseinladung und 11 Publikationen. Ca. 1944-1976.Die Sammlung enthält u.a.: I. 5 Ausstellungkataloge der Galerie Suzanne Bollag in Zürich. Mit zahlreichen teils farbigen Abbildungen. Zu den Ausstellungen 1960, 1963, 1964, 1965 und 1966. - II. Ausstellungskatalog der Galleria Cadario in Mailand am 31.10.1964. Kartonmappe mit eingelegtem Leporello. - III. Einladung zur Übergabe des Kunstpreises der Stadt Zürch für das Jahr 1968 an Prof. Max Bill. 4 nn. Bl. Original-Kartonage. - IV. konkrete kunst. Katalog zur Ausstellung in der Kunsthalle Basel 18.3.-16.4.1944. 64 S., 8 Bl. - Für die Ausstellung wurde erstmals der Begriff "Konkrete Kunst" verwendet, gezeigt wurden u.a. Werke von Arp, Bill, Badmer, Kandinsky, Klee, Leuppi, Lohse und Mondrian. - V. Faltblatt zur Ausstellung in der (op) art galerie in Esslingen 16.5.-16.6.1965. - VI. konkrete kunst. 50 jahre entwicklung. Katalog zur Ausstellung im Helmhaus in Zürich am 8.6.-14.8.1960. - Vorwort von Max Bill. - S. 9-56 sauber aus Bindung gelöst. - VII. Bill, Max. FORM. Eine Bilanz über Formenentwicklung... Basel, Karl Werner, 1952. 168 S. Original-Leinenband (etwas fleckig und berieben). - Insgesamt gut erhalten.

Bauhaus - - Bauhaus. Zeitschrift für Gestaltung. 2. Jg. 1928, Heft 2/3. Herausgeber Hannes Meyer. Schriftleitung: Ernst Kállai. Mit zahlreichen Abbildungen. Dessau, Bauhaus, 1928. 36 S. 29,5 x 21 cm. Illustrierte Original-Broschur (etwas angestaubt und fleckig).Fleischmann, S. 189 - Wingler, S. 563 - Marzona, S. 177 f. - Wichtiges Heft mit grundsätzlichen Äußerungen zur Bauhausarbeit, das erste Heft nach den einschneidenden personellen Veränderungen (Weggang von Gropius zum 1.4.1928 sowie Weggang von Moholy, Breuer, Bayer). - Mit Beiträgen von Bauhauslehrern (Ernst Kallai, W. Kandinsky, Hannes Meyer, Josef Albers, Oskar Schlemmer, Paul Klee, Mart Stam u.a.) sowie wichtigen Eigenaussagen von einigen der seinerzeit 166 Studierenden: Max Bill, Lotte Burckhardt, Erich Comeriner, Lux Feininger, Thomas Flake (Sohn des Schriftstellers Otto Flake), Fritz Kuhr, "co-op" (unter den Bauhausschülern eingereiht, obwohl er laut eigener Aussage als Meister berufen wurde; vermutlich verbirgt sich dahinter Hannes Meyer). - Innen sauberes Exemplar.

Klee, Paul - - Nierendorf, Karl. Paul Klee. Paintings Watercolors 1913 to 1939. Introduction by J. J. Sweeney. Mit Photoporträt von Josef Albers, 2 montierten Farbserigraphien und 65 Schwarzweiß-Tafeln. New York, Oxford University Press, 1941. 35 S., 1 weißes Bl. 28 x 22 cm. Original-Spiralbindung (ohne den Schutzumschlag)."The first book about Paul Klee to be published in the United States" (beiliegender Verlagsprospekt im Buchformat, 4 S.). - Auf der weißen ersten Seite eigenhändige Widmung Nierendorfs mit Unterschrift für Ludwig Mies van der Rohe: "Für Mies. Zur Erinnerung an den Winter, den wir mit Klee verbrachten. Okt. 1941". - Etwas gebräunt, erste und letzte (weiße) Seite angestaubt und etwas aus der Spiralbindung gelöst, der beiliegende Prospekt mit starken Altersspuren sowie Kritzeleien.

Bauhaus - - Grune, Richard. Die rote Kinderrepublik. Ein Buch von Arbeiterkindern für Arbeiterkinder. Aus Briefen, Tagebuchblättern und Hordenaufzeichnungen zusammengestellt und ergänzt von Andreas Gayk, Kiel. Bildschmuck und Photomontage von Niels Brodersen und Richard Grune, Kiel. Mit zahlreichen Illustrationen, Photomontagen und Zeichnungen. Berlin, Arbeiterjugend-Verlag, 1929. 72 S. 29 x 22,5 cm. Illustrierter Original-Halbleinenband (Kanten etwas beschabt, leicht berieben und kratzspurig).Erste Ausgabe. - Autopsie I, 369. - Die hervorragende typographische Gestaltung und die zahlreichen Photomontagen stammen von dem Graphiker und Redakteur Niels Brodersen (1895-1971) und dem Kieler Maler und Graphiker Richard Grune (1903-1984). Grune studierte ab 1922 am Bauhaus in Weimar, u.a. bei Klee, Kandinsky, Schlemmer und Feininger. - Berichtet wird über das Zeltlager von 2000 "Roten Falken" im Sommer 1927 in Seekamp. - Gutes Exemplar.

Expressionismus - - Zinglers Kabinett für Kunst- und Bücherfreunde. Eröffnungskatalog. Mit 1 Original-Holzschnitt von Fritz Schaefler sowie Abbildungen auf Tafeln. Typographie Max Woeller. Frankfurt, Eigenverlag, Oktober 1919. 5 Bl., 24 S., 5 Bl. 25,5 x 9,5 cm. Illustrierter Original-Karton (dezent knickspurig, etwas nachgedunkelt).Peter Ernst Zingler hatte seine Galerie im Mai 1919 gegründet, das Börsenblatt kündigte die erste Ausstellung am 15. Oktober 1919 an. Textbeiträge lieferten hier für den ersten Katalog Edschmid, Däubler, Michel, Jost, Trautner, abgebildet wurden Arbeiten von Klee, Schaefler und Pilartz. Eine zweite Ausstellung (Dexel, Campendonk, Feiniger) fand schon im November statt, neben den zwei Ausstellungskatalogen wurden bis Juni 1920 zwei weitere Titel zu E.M. Engert und H. Campendonk angezeigt. Danach verlagerte sich die Tätigkeit auf den Buchhandel und das Antiquariat, 1926 war mit Allem Schluss, das Inventar wurde in einer ohne Limit-Auktion verramscht, wobei nicht einmal alle 2000 Bücher einen Käufer fanden (das Börsenblatt berichtete am 12. Mai 1926 darüber). - Insgesamt gut erhalten.

Expressionismus - Der Sturm - - Walden, Herwarth (Hg.). Der Blaue Reiter. Gemälde-Ausstellung. Mit 11 Abbildungen. Berlin, Verlag Der Sturm, 1913. 16 S. 22 x 14 cm. Original-kartoniert mit farbiger Deckelzeichnung (Vorderumschlag lose).Erste Ausgabe. - Verzeichnet 54 Werke von Bloch, Burljuk, Campendonk, Jawlensky, Kandinsky, Kirchner, Klee, Marc, Muenter, Pechstein, Werefkin u.a. Texte von Marc und Kandinsky. - Innen gut.

Quantity of books on Art and Architecture including Modern Swiss Architecture, two volumes with black and white plates, The Drawings of Paul Klee by Will Grohmann 1946, Italy Builds by G E Kidder Smith etc

After Paul KLEE (1879-1940) Blauer-Vogel-Kurbis (Blue Bird Pumpkin) Pochoir and lithographBlindstamped "PROCEDE JACOMET" and stamped "©D.J." lower left Printed title and date 1939 with NN7 to the marginNumbered in ink 28/25026cm x 41cmOverall this piece is in good condition with no particular areas of major concern. There is some minor cockling to the paper (please see additional image).

Marguerite Klee (ca. 1910-1920) Stilleven met Japanse pop en maskers doek, gesign. r.o., 73 x 100 cm. [1]

Papagei auf Goldkugel, Hutschenreuther, Selb, Entwurf Prof. F. Klee, grüne Stempelmarke 1917-1925, auf dreieckigem Podest mit 3 kleienen und 1 großen Kugel sitzender Vogel, weiß, partiell ziervergoldet, H. 21 cm

Eichelhäher, Hutschenreuther, Selb, um 1915-25, Entwurf Prof. Fritz Klee, mit Entwurfstempel und Stempel der Kunstfachschule, polychrom bemalt auf rundem Postament mit Goldrand, H. 21 cm

Waldohreule / Uhu, Hutschenreuther, Selb, Entwurf Prof. F. Klee 1916, zeitnahe Ausführung, grüne Stempelmarke 1917-1925, auf rechteckigem Podest mit reliefierten Blättern sitzender Vogel, weiß, partiell ziervergoldet, H. 31 cm

3 Tierfiguren. Hutschenreuther und Nymphenburg. 20. Jh. Art-déco-Eule Hutschenreuther. Entwurf Prof. Fritz Klee (1876-1976). Weiß, mit Goldstaffage. Gold minimal berieben. H 15,5 cm. / Reihergruppe Hutschenreuther, Entwurf Hans Achtziger (1918-2003). Polychrome Aufglasurbemalung. Mehrere kleine Bestoßungen. H 21 cm. / Ziegenbock Nymphenburg. Modell-Nr. 434. Weiß. 11,5 x 12 x 5 cm. Eule: Gold minimal berieben. 3 animal figurines. Hutschenreuther and Nymphenburg. 20th century Art Deco owl Hutschenreuther. Design Prof. Fritz Klee (1876-1976). White, with gold staffage. Gold minimally rubbed. H 15,5 cm. / Group of herons Hutschenreuther, design Hans Achtziger (1918-2003). Polychrome onglaze painting. Several small chips. H 21 cm. / Goat Nymphenburg. Model no. 434. white. 11,5 x 12 x 5 cm. Owl: gold minimally rubbed. *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.

James Soby, 'The Prints of Paul Klee', New York, The Museum of Modern Art, 1947, set of prints after Klee with accompanying text.

HERZGER Walter (1901 Leipzig - 1985 Gaienhofen) ''Schafe'', Handdruck, signiert und 1968 datiert, 33,5x22,5cm *Herzger studierte Grafik und Malerei am Bauhaus in Weimar. Seine Lehrer waren Johannes Itten, Wassili Kandinski, Paul Klee und Oskar Schlemmer. Er arbeitete anschließend als freischaffender Künstler in Dresden. Ab 1930 war er Meisterschüler von Charles Crodel an der Kunstschule Burg Giebichenstein in Halle und gleichzeitig Leiter von dessen Grafikwerkstatt. Von 1958-67 hatte er eine Professur für Zeichnen an der Staatlichen Akademie der Bildenden Künste in Karlsruhe inne. Nach seiner Pensionierung war er am Bodensee wieder freischaffend tätig.*

2 Kunst-Mappen "Aufbruch" und "Hamburger Jahresgabe", mit 11 und 5 Faksimile-Prints, 1955 und 1966 rote Mappe "Aufbruch" mit Motiven u.a. von Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, Max Kaus, Walter Grammatté und Paul Klee, Blattmaß je HxB 35x29cm, jeweils verso typografisch bezeichnet, Umschlag mit Linolschnitt von Hermann Volz; leichte Altersspuren; grüne Mappe "Hamburger Jahresgabe 1966" mit Motiven von Lyonel Feininger, Paul Klee, Pablo Picasso, Karl Schmidt-Rottluff und Emil Nolde, HxB je 29,5x41,8cm

BRIDGET RILEY (B. 1931)Pass 1981 signed and dated '81 on the turnover edge; signed, titled and dated 1981 on the reverse; signed and titled on the stretcher baroil on linen80 by 70.5 cm.31 1/2 by 27 3/4 in.Footnotes:This work is registered in the Bridget Riley studio, London under no. P8012.ProvenanceJuda Rowan Gallery, London (BR 2) Acquired directly from the above by the previous owner in 1986 Thence by descent to the present ownerLiteratureRobert Kudielka, Alexandra Tommasini, Natalia Naish, Bridget Riley: The Complete Paintings, London 2018, vol. 2, no. BR 214, p. 544, illustrated in colourChromatically arresting, visually alluring and completely fresh to the market, Pass from 1981 embodies Bridget Riley's radical investigations into the optical potential of colour and the complexities of illusion and perception. Riley has produced a prolific, compelling, and technically pristine body of work over the course of her extraordinary career; an oeuvre that was in 2019 the subject of a highly lauded retrospective at the National Galleries of Scotland and the Hayward Gallery. Today, her works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Tate Gallery in London, and the Peggy Guggenheim Collection in Venice, to name but a few.Hypnotically evading perspectival resolution, the films of colour as seen in this present work recede and advance into illusory space, extending the abstract field of vision beyond the flat picture plane. Such dramatic visual effects anointed Riley as the undisputed spearhead of the Op Art movement. Nevertheless, her preoccupation with the mechanical contingencies of colour, and the sensory and perceptive effects that can be produced through constructing a rational architecture of form in which colour resides, extend Riley's impact and influence on contemporary painting far beyond the confines of a single movement. Maintaining an unparalleled relationship to the formal, 'plastic' concerns of painting inherited from the likes of Seurat, Paul Klee and Piet Mondrian, Riley has developed a pictorial language that is remarkably unique. Riley explains that 'by plastic I mean that which hangs between the cognitive reading of an image and its perception. If one looks at the painting there is clearly a gap between the mythic illusion which one can 'read' and the immediacy of the sensations one experiences through the sense of sight' (the artist in conversation with R. Kudielka, The Artist's Eye: Bridget Riley, London, 1989, p. 13).Pass belongs to a group of works that were inspired by a trip to Egypt that Riley made in the winter of 1979–80. This excursion was to have a lasting effect on the artist, inspiring her work for over a decade. Following this trip, Riley's palette became brighter, bolder, and more intensified. Paul Moorhouse explains, 'During that trip she visited the Nile Valley and the museum at Cairo, and was able to study, at first hand, the tombs of the later Pharaohs in the Valley of the Kings. Riley was astonished by the art she found in these ancient burial sites carved out of rock and located deep in the earth. These sacred places were dedicated to the dead, yet the tomb decoration was a vivid evocation of life and light. Though their creators had used only a limited number of colours - red, blue, yellow, turquoise, green, black and white - the walls of the chambers receded behind images in which could be seen a bustling affirmation of everyday existence. In looking at the art and craft of Ancient Egypt in the Cairo Museum, Riley recognised that the same colours had been used in all aspects of the Egyptians' material lives, from the decorative to the purely functional' (Paul Moorhouse, Bridget Riley, London, 2003, p. 22).In a spectacular rhythm of blue, red, orange, and white, Pass engenders a harmonious structure that is analogous with the relationship between the component parts of a piece of music. This aggregation of high and low tones, of loud and quiet pitches, creates a field of vision that hums with a warm, self-generated glow. For Riley, suspending incongruent colours and polarising frameworks is the essence of aesthetic harmony: 'this could sound like a paradox', she writes, 'but only if one thinks in logical terms. In painting, it seems to me, contrast is the basic relationship. Even that which appears to be harmony is actually a harmony of contrasts, be they spatial, directional, chromatic, tonal, etc.' (Bridget Riley in conversation with Robert Kudielka in Robert Kudielka on Bridget Riley: Essays and interviews 1972-2003, London 2005, p. 96). In the present work, Riley composes a melodic unity through bands of colour that refract and funnel a cacophony of shifting sightlines between its vertical linearity. An exemplary work of pulsating geometry and colour, Riley's Pass is a compelling vision of abstract painting's closeness to human perception.Born in London in 1931; Riley studied at Goldsmiths College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. Finding notoriety in the 1960's, her prestige and influence on contemporary art remains decisively steadfast, while her extensive body of work continues to garner discussion in a contemporary context. Citing Georges Seurat as a point of reference, Riley's early output of work played with Pointillism and Impressionism to examine the interaction of colour and form to create light and depth. The Pointillist painter had sought to introduce light into the canvas through dots of pure colour, carefully placed either for contrast or harmony to intensify both their individual power and the overall effect. Similarly, Riley developed a mode of painting that employed the repetition of individual colours in geometric patterns and, in the case of this present work, vertical lines. The lines surpass and transcend their own limitations, and work together to achieve a greater luminosity. Cultivating her technique to explore total abstraction, Riley soon came to hone her optical style, creating dizzying canvases where depth and visual stimuli emanated from the delicate positioning of vertical and linear lines. Initially working with a largely monochrome palette, Riley's first solo exhibition at Gallery One in 1962 soon led to a string of international shows early in her career, including exhibiting in the Museum of Modern Art, New York, a solo exhibition in 1966, and prizes such as the AICA Critics Prize and John Moores' Liverpool Open Section in 1963. In 1968 she represented Britain at the Venice Biennale, receiving the International Prize for Painting. It is true to say that Bridget Riley's continued exploration of optics and colour have afforded her the reputation as one of the most internationally recognisable abstract artists today.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Erster deutscher Herbstsalon,: Berlin 1913. (Vorrede von Herwarth Walden). Bln., Der Sturm 1913. Mit 50 Tafels. 32 S., 2 Bl. Obrosch. (Berieb.). Rifkind Coll. 251. Waldern-Schreyer S. 258: "Katalog dieser epochalen Ausstellung, an der die Elite der europäischen Länder beteiligt war" (Bolliger), wie H. Arp, M. Chagall, M. Ernst, L. Feininger, W. Kandinsky, P. Klee, O. Kokoschka, A. Macke, F. Marc u.a. Inliegend Dplbl. der "Gesellschaft der Sturmfreunde". - Tls. leichte Gebrauchsspuren.

Klee, Paul: (1879 Münchenbuchsee b. Bern - Muralto Locarno 1940). Drei Köpfe. Aus: Münchner Blätter für Dichtung und Graphik. Federlithographie auf der ganzen Textseite. 1919. Blgr. 26,7 x 21,3 cm. Mit dem Namenszug u. Datum im Stein. Am li. Rd. puntuell unter Passep. geklebt. - Kornfeld 70. - Etw. lichtrandig. R

Predigten.: in deutscher Sprache, 5 Bände.17. Jh. Kl.4°. Versch. Einbde. d. Zt. mit Bibl.-Rckn. u. -Deckelschild. ╔Enthält:╗ Neuburger,C.U. Conciones Rurales oder Gantze doch Kurtze Predigen... 2 Tle. in 1 Bd. Salzburg 1659-60. - Engelschalk,M. Trifolium sacrum, Geistliches Dreyzinckendes Klee ... Augsburg 1697. - Braumiller,J. Sammelband mit 4 Schriften. Salzburg 1693-95. - Besseus,P. Vollkommene Ersetzung der hinderstelligen Predigen... Mchn. 1620. - Helbig,J.L. Marianische Lob- und Ehren-Reden... Nbg. 1699. - Versch. starke Gebrauchsspuren, jwls. Bibl.-St.a.T. u. Innendeckel. Nicht eingehend kollat.

PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Verve. An Artistic and Literary Quarterly, volume I, numbers 3-4, Paris, October-December 1938 & January-March, 1939, colour and monochrome illustrations, number 3 including 3 colour lithographs by Chagall, Miro and Klee, number 4 with 2 colour lithographs by Matisse and Derain, original upper wrappers by Bonnard and Roualt, bound in contemporary cloth with 'Verve' lettered in silver to upper cover and spine, some fading to spine and upper cover, 4to QTY: (1)

MIQUEL BARCELÓ (Felanitx, Mallorca, 1957)."Bestiaire", 1990.Lithography on Velin paper. Copy 8/26.Published by Talleres Item, Paris.Signed and numbered at the bottom.Size: 45 x 33 cm; 48 x 36,5 cm (frame).A painter and sculptor, Barceló began his training at the School of Arts and Crafts in Palma de Mallorca, where he studied between 1972 and 1973. In 1974 he made his individual debut, at the age of seventeen, at the Galería Picarol in Mallorca. That same year he moved to Barcelona, where he enrolled at the Sant Jordi School of Fine Arts, and made his first trip to Paris. In the French capital he discovered the work of Paul Klee, Fautrier, Wols and Dubuffet, as well as "art brut", a style that was to exert an important influence on his first paintings. During these years he reads extensively, and is enriched by works as diverse as the writings of Breton and the surrealists, Lucio Fontana's "White Manifesto" and Arnold Hauser's "Social History of Literature and Art". In 1976 he held his first solo exhibition in a museum: "Cadaverina 15" at the Museum of Mallorca, consisting of a montage of 225 wooden boxes with glass lids, with decomposing organic materials inside. That same year, back in Mallorca, he joined the Taller Lunàtic group and took part in its social, political and cultural protest actions. In 1977 he made a second trip to Paris, and also visited London and Amsterdam. That same year he exhibits for the first time in Barcelona, and meets Javier Mariscal, who becomes one of his best friends in the city. Together with him and the photographer Antoni Catany, as a member of the group "Neón de Suro", he takes part in exhibitions in Canada and California, and collaborates with the publication of the magazine of the same name. It was also in 1977 that he received his first large-scale painting commission: a mural for the dining room of a hotel in Cala Millor, Mallorca. The following year, at the age of twenty-one, he sold his first works to some collectors and galleries, and finally moved to Barcelona. His international recognition began in the early eighties, giving a definitive boost to his career with his participation in the São Paulo Biennial (1981) and the Documenta in Kassel (1982). In 1986 he was awarded the Premio Nacional de Artes Plásticas, and since then his work has been recognised by the most important awards, such as the Prince of Asturias Award for the Arts (2003) and the Sorolla Prize of the Hispanic Society of America in New York (2007). Barceló is currently represented in the most important contemporary art museums in the world, such as the MoMA in New York, the Centre Pompidou in Paris, the Guggenheim in Bilbao, the Marugami Hirai in Japan, the Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the CAPC in Bordeaux, the Carré d'Art in Nimes, the Museum of Contemporary Art in Caracas and the Museum of Fine Arts in Boston, among others.

A LHS Lorenz Hutschenreuther Selb porcelain cabaret set,c.1920s, designed by Professor Fritz Klee, comprising a twin handled tray, a tea pot, two teacups and saucers, a sugar bowl and cover and a cream jug, each with a printed marks,tray 44.2cm wideCondition ReportSmall rough section of gilding to the edge of the tray. Very minor rough sections to the foot rims, probably manufacture. Minor gilt wear throughout.

Sturm-Bilderbücher. (Band) V. Maler des Expressionismus. 15 Farbdrucke. (Herausgegeben von Herwarth Walden). 2 Bl. Text und 15 auf schwarzen Karton montierte Farbtafeln. 34,5 x 24,5 cm. OKart. (geringfügig gebräunt) mit Kordelheftung. Berlin, Der Sturm, (1921).Mit einem Begleittext von Rudolf Blümner. Die Tafeln mit Werken von Chagall (3), Kandinsky (2), Bauer, Gleizes, Goering, van Heemskerck, Klee, Léger, Marc, Molzahn (signiert) und Nell Walden. - Die Tafeln im äußersten Rand teils dezent (in Tinte) namentlich bezeichnet. Die Farbtafeln von Goering und Molzahn mit winzigem Eckknick. Textblätter gebräunt. Insgesamt sehr gutes Exemplar.

Joel, Hans Theodor (Hrsg.). Das graphische Jahrbuch. 55 S. Mit 2 ganzseit. Orig.-Holzschnitten, 1 Orig.-Lithographie, 32 Tafeln und 12 Text-Illustrationen. 22 x 17 cm. OPappband (etwas gebräunt). Darmstadt, Karl Lang, (1919).Söhn, HdO I 121. - Enthält von Karl Schmidt-Rottluff den Orig.-Holzschnitt "Kleine Prophetin" (Schapire 253), von Gottfried Graf den Orig.-Holzschnitt "Komet" und Walther Ruttmann die Orig.-Lithographie "3 Personen". Mit Textbeiträgen von Schiefler, Meier-Graefe, Westheim, Schapire, Wolfradt, Däubler, Pfister u. a. über Max Beckmann, Kokoschkas Graphik, Schmidt-Rottluff als Graphiker, Wilhelm Lehmbrucks Radierungen, Felixmüller, Paul Klee, Richard Seewald, Walter Gramatté, die Maréesgesellschaft und anderes. - Das Frontispiz mit Abklatsch, insgesamt sehr gutes, sauberes Exemplar.

Entartete "Kunst". Führer durch die Ausstellung Entartete Kunst. 30 S., 1 Bl. Mit 54 Abb. 21 x 14,5 cm. Illustrierter OUmschlag (mit kl. Einriss, Vorderdeckel berieben und mit Knickspuren, fleckig). Berlin 1937.Berüchtigtes Dokument der nationalsozialistischen Kulturpolitik. Außer den 54 Abbildungen aus dem Schaffen moderner Künstler wie Beckmann, Chagall, Dix, Grosz, Heckel, Kirchner, Klee, Kokoschka, Nolde u. a. enthält der Katalog Zitate aus der Zeit tiefster Erniedrigung der Kunst in Deutschland. - Eine Lage lose. Wie immer etwas gebräunt.

Pfister, Kurt. Deutsche Graphiker der Gegenwart. 41 S., 1 Bl. Mit 23 Original-Graphiken und 8 weiteren Tafeln. 32 x 24,5 cm. Illustrierter OHleinenband (gebräunt und minimal fleckig). Leipzig, Klinkhardt & Biermann, 1920. Söhn, HdO I 108. - Bedeutende Sammlung expressionistischer Originalgraphik. Enthält 3 Selbstbildnisse in Original-Lithographie von Lovis Corinth (Schwarz 409), Käthe Kollwitz (Klipstein 145) und Max Liebermann (Schiefler 307); ferner Original-Lithographien bzw. -Holzschnitte von Ernst Barlach "Gruppe im Sturm" (Schult 162), Max Beckmann "Pierrot und Maske" (Gallwitz 146), Erich Heckel "Jüngling" (Dube 226 B), Max Pechstein "Weib vom Mann begehrt" (Fechter 157), Karl Schmidt-Rottluff "Frauenkopf" (Schapire 191), Lyonel Feininger "Hansaflotte" (Prasse W 115), George Grosz, Otto Mueller, Ludwig Meidner, Paul Klee "Riesenblattlaus" (Kornfeld 77 II b), Alfred Kubin "Auf der Flucht" (Raabe 126), Rudolf Grossmann, Christian Rohlfs und anderen. - Hin und wieder minimal fleckig, insgesamt sehr gutes Exemplar.

König, Hertha. Die alte Stadt. Gedichte. 47 S. 26 x 18,5 cm. OHalbleinen (stockfleckig) mit goldgepr. RTitel. Berlin, Kaemmerer, 1925. Kosch, 20. Jhdt. XXX, 259. - Erste Ausgabe. Hertha König, 1884 auf Gut Böckel/Westfalen geboren und aus betuchter Familie stammend, unterhielt von 1905-1927 in München einen literarischen Salon, in dem u. a. Oskar Maria Graf verkehrte. Seit 1910 war sie mit R. M. Rilke befreundet, fungierte als Mäzenatin und sammelte Kunst. Früh schon besaß sie Werke von Picasso, Nolde, Klee u.a. 1976 ist sie an ihrem Geburtsort gestorben. Eine hochinteressante Persönlichkeit, die zwar immer wieder auch als "westfälische Dichterin" wiederentdeckt wurde und deren Erbe von einer Hertha-König-Gesellschaft gepflegt wird, deren Name jedoch trotz ihres vielfältigen schriftstellerischen Werkes und einer außergewöhnlichen Biographie meist nur im Zusammenhang mit R. M. Rilke gewärtig blieb. Dessen Briefwechsel mit ihr wurde 2009 publiziert. - Innen wohlerhalten. - Dabei: Die neue Rundschau, XXX. Jahrg., 11. Heft. November 1919. - Enthält die Erzählung "Die Letzten" von Hertha König (Erstdruck). - R. M. Rilke. Briefe an eine junge Frau. OPappband. Leipzig, Insel, (1930). - Insel-Bücherei Nr. 409. - Exlibris; Schnitt stockfleckig.

Künstlerspende für das Deutsche Buchmuseum. 2 lose Blätter. 13 (von 20) Original-Lithografien und -Radierungen von verschiedenen Künstlern, unter Passepartout. 54,2 x 44 cm (Passepartout). OHalbleinenmappe (fleckig, bestoßen) mit VDeckelschild. Leipzig, Breitkopf & Härtel, 1921.Eines von 200 Exemplaren (Gesamtauflage) der ersten Mappe, die zweite erschien 1926. Hier liegen die signierten Graphiken vor von Johann Vincenz Cissarz, Lovis Corinth, Robert Engels, Erich Gruner, Ludwig von Hofmann, Walter Klemm, Emil Orlik, Emil Pottner, Max Slevogt, Hugo Steiner-Prag, Walter Tiemann und Gustav Wolff. Die Mappe wurde erstellt um der "Verkümmerung" der deutschen Museen und Sammlungen entgegenzuwirken. So drohte dem Deutschem Buchmuseum der Verkauf der 42 teiligen Bibel Gutenbergs während des Ersten Weltkrieges. Das Ziel deiser "Künstlerspende": "Die Gutenberg-Bibel darf nicht veräußert werden; niemals darf mit ihrem Erlös und damit dem Verlust des kostbarsten Druckwerkes der Bestand des Museums erkauft werden. Eine Künstlermappe, die sie in Opferwilligkeit gern und freudig schufen, soll über die schwersten Zeiten hinweghelfen" (Druckvermerk). - Inkomplettes Exemplar, es fehlen die Graphiken von Paul Klee, Oskar Kokoschka, Käthe Kollwitz, Alfred Kubin, Max Liebermann, Rudolf Schiestl und Hans von Volkmann. - Titel stärker lädiert, Ecken bestoßen und leicht knittrig, ansonsten schönes Exemplar.

Verve. Revue artistique et littéraire. Volume II, No 5-6. 134 S., 22 Bl. Mit zahlreichen, teils farbigen und montierten Abbildungen und Tafeln sowie 16 (incl. Umschlag) farbigen Lithographien. 36 x 26,5 cm. Farbig illustrierter OKarton (berieben, Kapitale etwas bestoßen) mit Klarsichtfolie (diese unschön mit Heftklammern am Innenspiegel fixiert). Paris 1939.Mit farbigen Lithographien u. a. von Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse und Klee, der Umschlag stammt von Maillol. - Bindung geplatzt, Lagen ausgebunden oder teils lose, Vortitel mit Einriss im unteren Bug.

"Visuelle Komposition" des Gerhard Wendland aus 1967, hinter Glas gerahmte in Graphit signierte , 1967 datierte, sowie Nr. 109 von 120 nummerierte Farblithografie, Blattmaß ca. 49 x 37,5 cm, Druckbereich ca. 45 x 32 cm. In schlichter Holzleiste gerahmt, als Wanduhr mit ungeprüftem Quarzwerk montiert. Das Blatt mit geringen Feuchtigkeitsschäden ( an den Rändern ) sowie teilweise flächiger Bräunung. Gerhard Wendland = (Hannover 1910 -1986 Nürnberg) war ein deutscher Maler und Grafiker, wichtiger Vertreter der abstrakten Kunst nach 1945, öffnete sich aber immer wieder neuen Richtungen und Stilen. Studierte an der Kunsthochschule Hannover, war 1959 Teilnehmer der Dokumenta II in Kassel, ab 1956 Leitung der Abteilung Freie Malerei an der Werkskunstschule Hannover, ab 1960 Professor für Malerei an der Akademie der Bildenden Künste in Nürnberg. Seine grafische Arbeit war stark von Paul Klee und Wassily Kandinsky beeinflusst (Quelle: Internet).

Raymond Klee (1925-2013) Oil on Board, 'Tenerife Harbour', framed and mounted with a name plaque to the edge of the frame, artist signed to the bottom right. Measures 35" x 25" overall.

"CORNEILLE"; GUILLAUME CORNELIS VAN BEVERLOO (Belgium, 1922 - France, 2010).Untitled, 1992, from the series "Olympic Suite".Lithograph on Velin d'Arches paper, copy 110/250.Signed, dated and justified by hand.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.The Olympic Suite is made up of fifty lithographs and serigraphs chosen to represent various contemporary artistic trends. It was published to commemorate the first centenary of modern Olympism. The artists chosen work in very diverse movements and styles, from the hyperrealism of Antonio López to the abstraction of Sol Lewitt, including abstract expressionism, the geometrism of Arden Quin, conceptual art, pop art, the new realism of Baldaccini and Rotella, and the new fauvism of Dokoupil, among others. Among the artists represented there are creators of great international renown, widely recognised by critics.Better known by his pseudonym Corneille, Guillaume Cornelis van Beverloo was a Belgian painter and printmaker of Dutch parents. He began studying art in 1940 in Amsterdam, where he met painters such as Constant and Karel Appel. Interested in the work of Pignon, Matisse and Picasso, he began exhibiting in 1946. He visited Hungary shortly afterwards, where he discovered Surrealism and was influenced by the painting of Klee and Miró. Along with Appel, Constant and others, Corneille was a member of the Dutch "Experimentale Group", collaborated with the magazine "Reflex" and took part in the CoBrA movement (1948-1951). After the dissolution of the latter group, he moved to Paris. Two years later, in 1953, he began to produce etchings, and the following year he began to produce ceramic works. The influence of his collection of African art, acquired during a trip to North Africa in 1949, is evident in the evolution of his work from the late 1950s onwards, as he gradually abandoned abstract landscape painting and began to develop an imaginative style, with landscapes depicted from a bird's eye view, exotic animals and highly stylised figures. Corneille is currently represented at the MoMA in New York, the National Gallery of Slovakia, the Dordrecht Museum, the Museum of Fine Arts in Boston, the Art Institute of Chicago and others.

ZAO WOU KI (Beijing, 1921 - Nyon, Switzerland, 2013).Untitled, from the Suite Olympic Centennial, 1992.Lithograph on 270 gsm Vélin d'Arches paper, copy 110/250.Hand signed and justified.This work is part of the "Suite Olympic Centennial", complete edition 110/250, which will be auctioned on 27 September 2022, in 50 consecutive lots numbered 35245230 to 35245280.Measurements: 90 x 63 cm.Zao Wou Ki is the second most sought-after post-war artist in the world and the sixth most expensive of all time. In the first half of 2018, his sales were only behind those of stars such as Picasso, Monet, Modigliani and Andy Warhol. At the end of 2018, one of his paintings was sold for 56.5 million euros at auction at Sotheby's. The work made Wou-Ki the most expensive Asian artist in history.Zao Wou Ki was born into a Franco-Chinese family and grew up in a highly cultured environment, interested in the arts and sciences. He studied calligraphy as a child, an aspect that would influence his mature work, and later trained in painting at the Hangzhou College of Fine Arts from 1935-1941. A few years later, in 1948, he settled in Paris, in the Montparnasse district, where he followed the artistic courses of Émile Othon Friesz and came into contact with the contemporary artistic avant-garde. He began to experiment with lithography, a technique which he eventually mastered, following his contact with Desjobert. He holds a solo exhibition at the Galerie Creuze in May 1949, with a presentation written by Bernard Dorival, curator of the Musée National d'Art Moderne. In January 1951 Pierre Loeb visits Wou-Ki's studio with Henri Michaux, organising an exhibition at the Galerie Pierre for June, thus laying the foundations for a close collaborative relationship that would last six years. He held regular exhibitions at the Pierre Gallery and met I. M. Pei and his wife Eileen, opening his circle of exhibitions in Switzerland, London, Basel and Lausanne, as well as in New York, Washington and Chicago. His painting is eminently abstract and colourist, strongly influenced by the work of Paul Klee, for its expressionist and emotive abstraction. He tends to work with large masses of intense and contrasting colour, often creating works of large dimensions, as well as diptychs or triptychs. They are often explosions of colour, germinal "big bangs", the origin of a world in creation, as we can see in this lithograph. Delicate patches of blue and mauve intermingle with some grey tones.

Hans Arp. Wortträume und schwarze Sterne. Auswahl aus den Gedichten der Jahre 1911-1952. 1953.Umschlag in Holzschnitt und mit vier (1 signierten) lose beiliegenden Holzschnitten (2 schwarzweiße, 2 hellblau-schwarze), jeweils auf Bütten gedruckt. Mit einem Vorwort ("Wegweiser") von Arp. 94, (2) S. + 4 Tafeln (Plastiken Arps). Gr.-8°. Illustr. Brosch. (stellenw. minim. verblasst, einige zarte Knickspuren, 1 kl. Randläsur). Insgesamt sehr gutes Exemplar, zumal die Broschur außerordentlich empfindlich ist. Sehr selten. Eins von 100 Exemplaren der Vorzugsausgabe, dieses nicht nummeriert, da es sich um das Belegstück der Verlegerin Marguerite Schlüter handelt. Einer der Holzschnitte signiert (während für die Verkaufsauflage alle Graphiken signiert worden sind). - Satz der Texte aus der Bodoni, gedruckt auf feingeripptes Maschinenbütten. Buchgestaltung von Flora Klee-Palyi. Die Vorzugsausgabe ist deutlich größer als die Normalausgaben. Cover in woodcut and with four (1 signed) loosely enclosed original woodcuts (2 black and white, 2 light blue and black), each printed on laid paper. - Overall a very good copy, especially as the pamphlet is exceptionally delicate. Very rare. One of 100 copies of the special edition, this one not numbered, as it is the copy of the publisher Marguerite Schlüter. One of the woodcuts signed (while for the sale edition all prints were signed). - Typesetting of the texts from the Bodoni, printed on fine-ribbed machine-made paper. Book design by Flora Klee-Palyi. The special edition is considerably larger than the normal editions.

Expressionismus - Zeitschriften - - Herwarth (Hg.) Walden. Der Sturm. Monatsschrift. Jg. 10 H. 2-6. Mit zahlr. OHolzschnitten, OLithographien u. tls. farbigen Abb. Berlin, 1919/20. 4°. Hefte gebunden in modernerm HLwd. mit Lwd. Ecken (sehr schöner Zustand). Mit original Holzschnitten u. Farbholzschnitten sowie Farblithographien von Oswald Herzog, Jacoba van Heemskerck, Rudolf Bauer, Arnold Topp, Johannes Molzahn, weiteren Illustrationen von Hans Brass, Hugo Händel, Kurt Schwitters, Paul Klee u. Marc Chagall sowie literarischen Beiträgen von Kurt Schwitters u.a. - Papierbedingt gleichmäßig gebräunt, letze 5 Bll. mit unfachmännisch restauriertem Einriss im rechten Blattrand, insgesamt schöne und saubere Exemplare. With numerous woodcuts, lithographs and partly colored illustrations. Bound in modern half cloth with cloth corners (fine condition). - Paper evenly browned, last 5 leaves with unprofessionally restored tear in the right leaf margin, in general fine and clean copies.

Bauhaus - - Staatliches Bauhaus Weimar 1919-1923. Hg. vom Staalichen Bauhaus und Karl Nierendorf. Mit 147 Abb. und 20 Farbtafeln, davon 9 Original-Lithographien von Herbert Bayer, Marcel Breuer, L. Hirschfeld-Mack, Keler-Molnar u.a. Weimar und München, Bauhaus-Verlag, 1923. 226 S. Gr.-8°. Schwarzer OPp. mit typogr. gestaltetem Titel in Rot u. Blau von Herbert Bayer (etwas berieben und leicht fleckig, Rücken unauffällig restauriert). Erste und einzige Ausgabe, in einer Auflage von 2000 Exemplaren in dt. Sprache erschienen. - Diese erste vom Bauhaus herausgegebene und programmatische Schrift wurde anlässlich der großen Weimarer Bauhaus-Ausstellung von 1923 veröffentlicht. Mit Texten von Walter Gropius, Wassily Kandinsky, Paul Klee, Laszlo Moholy-Nagy und Oskar Schlemmer. Typographische Anordnung von Moholy-Nagy, Einbandentwurf von Bayer. - Titelbl. mit gestempeltem Besitzervermerk. Fliegender Vorsatz vorne entfernt. Hinterer Vorsatz mit kleinem Loch und Stempel. Einige Bll. mit kl. Einriss im unteren Rand. Papierbedingt gebräunt. Insgesamt gutes Exemplar. With 147 illustrations and 20 colour plates, including 9 original lithographs by Herbert Bayer, Marcel Breuer, L. Hirschfeld-Mack, Keler-Molnar a.o. Black original paper with typographic title in red and blue by Herbert Bayer (somewhat rubbed and soiled. Spine inconspicuously restored). - First and only edition, published in German in an edition of 2000 copies. - This first programmatic publication edited by the Bauhaus was published on the occasion of the great Weimar Bauhaus exhibition of 1923. With texts by Walter Gropius, Wassily Kandinsky, Paul Klee, Laszlo Moholy-Nagy and Oskar Schlemmer. Typographic arrangement by Moholy-Nagy. - Title-page with stamped owner's note. Front fly-leaf removed. Rear endpaper with small hole and stamp. Some pages with small tear in lower margin. Paper browned. Overall a good copy.

WASSILY KANDINSKY PRINT,94cm x 71cm, along with two Paul Klee framed prints (3)

Books, to include: Lillian Browse, 'Sickert', published by Rupert Hart-Davis, Sabine Rewald, 'Paul Klee', The Breggruen Collection', published by Tate, 'Giacometti: The Complete Graphics', among other volumes

Paul Klee, 3 lithographs, abstracts, 1946, printed in Germany, unframed (3)Good condition, slight discolouration in the margin

Herman Frederik Bieling, 1887 Rotterdam – 1964 RhoonKopf in BronzeHöhe: 43,7 cm. Breite: 19,0 cm.1920er-JahrePatinierte Bronze. Neben den großen Künstlernamen seiner Wirkungszeit ist Bieling weitgehend im Hintergrund des allgemeinen Wissens um die Kunst des Kubismus und der schon frühen Moderne in Europa geblieben. Bieling wirkte als Maler und Bildhauer, wobei seine plastischen Werke einen enorm hohen Bedeutungsgrad erreicht haben. Wie viele seiner berühmt gewordenen Zeitgenossen wie Heckel, Nolde oder Pechsteil, orientierte er sich auch an der afrikanischen Kunst, was auch seine Holzschnitte zeigen. Die Bildnisse seiner Plastiken lassen in erstaunlicher Weise den Portraitierten erkennen, trotz extremer kubistischer Formenreduktion. Hier stehen seine Werke zumeist weit über vergleichbaren seiner Zeitgenossen. 1917 gründete er eine Künstlervereinigung „De Branding“, zu der auch Laurens van Kulk, Ger Ladage, Bernard Toon Gits und andere zählten. Die Vereinigung stand in engem Kontakt mit anderen Gruppierungen, wie De Stijl oder Der Sturm. Bieling veranstaltete mehrfach Ausstellungen für Otto Gleichmann, Kurt Schwitters, Constantin Brancusi und Mondriaan, zusammen mit seinen Werken. 1932 stellte er zusammen mit Braque, Van Dongen, Kandinsky, Chagall, Matisse, Klee, Mondriaan, Picasso und anderen aus. 1939 wurde auch sein Werk in der Ausstellung „Onze Kunst van Heden“ im Rijksmuseum in Amsterdam ausgestellt, die letzte Präsentation der Moderne vor dem Zugriff des NS-Regimes.Werke seiner Hand wurden ab 1917 bis 2003 ausgestellt und befinden sich in zahlreichen öffentlichen Museen und privaten Sammlungen.Provenienz:In den 1930er-Jahren durch Hermen Molendijk (1896-1983), Stadtrat von Groningen, später Bürgermeister von Amersfoort, direkt vom Künstler erworben, seitdem im Familienbesitz.Literatur:Jan Cees van Duin, Herman Bieling. De strijdbare voorman van de Rotterdamse kunstenaarsfederatie „De branding“ (1917-1926), Rotterdam 2017.Els Brinkman, De Branding 1917-1926. Stichting Kunstpublicaties, Rotterdam 1991.Ed Wingen, Herman Bieling. Gemeente Allbrandswaard6, Niederlande 2003.A.R. (1331171) (11))

Three framed prints including a limited edition Paul Klee example NO RESERVE

Peter Karl Fabergé (St. Petersburg 1846 - Lausanne 1920). Kleiner russischer Emaille-Becher 'Erdbeer-Klee'. St. Petersburg. 1896-1908. Silber, mehfarbige, lüstrierende Emaille. H. 73 mm, Gew. ca. 100 g. Gest., kyrillisch MZ: AP und Fa. Fabergé, Zolotnik 88 mit BZ Jakow Ljapunow. Zustand Kl. Best. und kl. Rep. Runder Corpus, leicht geschwungene Wandung umlaufend mit hochrankenden Kleeblüten - Literatur: Verzeichnis der russischen Gold- und Silbermarken - Provenienz: Nachlass Gräfin Finck von Finckenstein-Brinkama -

Wilhelm Imkamp (Münster 1906 - Stuttgart 1990). Farbfelder. 1968. Öl/Papier. 29,5 x 39 cm. L. u. sign. und dat. W. Imkamp 68, unter Passepartout gerahmt, ungeöffnet. - Abstrakter Maler. I. studierte am Dessauer Bauhaus bei Kandinsky, Klee und Feininger, es folgte ein Studienaufenthalt in Paris. Er war Mitglied in den Künstlervereinigungen 'Neue Gruppe' in München, 'Die Schanze' und 'Gruppe SW' in Münster. Ab 1953 war er in Stuttgart tätig. I. hatte Ausstellungen u.a. im Folkwang-Museum Essen, in Köln, Stuttgart und Wuppertal. Mus.: Hannover Lit.: Vollmer u.a.

Konfektdose, Lorenz Hutschenreuther, Abt. für Kunst, Entw. Prof. Klee, K. Fachschule, Stand mit goldkonturiertem Maskaronrelief, stilisierter Blumenstrauß mit Blumenbändern als Deckelknauf, H. 21 cm, Dm. 13 cm

(Tätig 2. Hälfte 20. Jh.)Nächtliche StadtIn der Tradition der Klassischen Moderne stehende, von Robert und Sonja Delaunay, August Macke, Paul Klee und dem Bauhaus geprägte, flächig stilisierte Stadtlandschaft aus geometrischen Formen in dominierenden Blau- und Violett-Tönen. Pastell/Papier. R. u. undeutl. sign. u. dat. 1980. 39 cm x 49 cm (Passepartoutausschnitt). Rahmen.Hungarian contemporary artist active second half 20th C.; Pastel on paper. Indistinctly signed and dated 1980.