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Paul Klee Arrival of the Bridegroom, 1933 Framed Print in Responsibly Sourced Solid Frame With A Brushed Black Satin Finish Print On 250gsm Conservation Pape 36x28cm

Paul Klee Nordsee Insel Hauser, 1923 Framed Print Framed Print in Responsibly Sourced Solid Frame With A Brushed Black Satin Finish Print On 250gsm Conservation Pape 36x28cm

Paul Klee, lithograph, abstract, 1945, signed in plate, image 7.5" x 5.5", mounted

Pablo Picasso lithographic print (Mourlot) circa 1958, Pablo Picasso print circa 1956 (Ambrose Vollard) 2 x Elisabeth Frink lithographic prints circa 1975, Henry Moore Shelter print circa 1940, Paul Klee print, Salvador Dali Print circa 1953, Henri Matisse print circa 1935, Georges Braque lithographic print circa 1958 (Mourlot). 9 in total all mounted but unframed, approx overall sizes 16 x 12 inches. 

HOFMANN, Otto(1907 Essen - 1994 Pompeiana/Italien) Geometrische KompositionFarblithografie. Bleistiftsignatur. Exemplar: 3/150. Platte: 40 x 50 cm, Blatt: 50 x 65 cm.  Am Bauhaus in Dessau bei Paul Klee und Wassily Kandinsky ausgebildeter deutscher Maler.

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Before the Snows ["Vor dem Schnee"]". Medium: Original color collotype. Date: Composed 1929. Printed 1948. Dimensions: Image size: 8 3/8 x 9 1/2 in. (213 x 241 mm).Lot Note(s): Felix Paul Klee stamp, verso; signed in the plate, lower left. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1948. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23644-2-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Black, Still in Place ["Du Noir, Encore en Lieu et Place"]". Medium: Original color collotype. Date: Composed 1940. Printed 1957. Dimensions: Image size: 12 1/8 x 4 in. (308 x 102 mm).Lot Note(s): Signed in the image, upper right. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23638-2-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Botanical Garden, Palmate Plants ["Botanischer Garten, Abteilung der Strahlenblattpflanzen"]". Medium: Original lithograph. Date: Composed 1926. Printed 1949. Dimensions: Image size: 13 3/16 x 8 in. (335 x 203 mm).Lot Note(s): Felix Paul Klee stamp, verso. Small edition. Heavy cream wove paper. Printed to the edge of the sheet. Fine impression. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1949. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [23654-2-150]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "City with Flags ["Beflaggte Stadt"]". Medium: Original color lithograph. Date: Composed 1927. Printed 1949. Dimensions: Image size: 11 5/8 x 8 5/8 in. (295 x 219 mm).Lot Note(s): Signed in the image, lower right. Felix Paul Klee stamp, verso. Small edition. Cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1949. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23655-2-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Flowers in Vases ["Fleurs dans les Verres"]". Medium: Original color collotype. Date: Composed 1925. Printed 1946. Dimensions: Image size: 9 15/16 x 7 3/4 in. (252 x 197 mm).Lot Note(s): Signed and dated in the image, lower right; Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [21511-2-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Hamammet Theme ["Motiv aus Hamammet"]". Medium: Original color collotype. Date: Composed 1914. Printed 1948. Dimensions: Image size: 7 15/16 x 6 in. (202 x 152 mm).Lot Note(s): Signed in the image, lower left. Felix Paul Klee stamp, vereso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1948. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23639-1-200]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Perspective with Open Door ["Perspektive mit offener Ture"]". Medium: Original color lithograph. Date: Composed 1923. Printed 1949. Dimensions: Image size: 9 1/16 x 9 1/4 in. (230 x 235 mm).Lot Note(s): Signed and dated in the image, lower right. Felix Paul Klee stamp, verso. Small edition. Cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1949. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23653-2-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Sailing City ["Segelnde Stadt"]". Medium: Original color lithograph. Date: Composed 1930. Printed 1949. Dimensions: Image size: 13 13/16 x 10 1/2 in. (351 x 267 mm).Lot Note(s): Felix Paul Klee stamp, verso. Small edition. Heavy cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1949. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23657-3-150]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Signs in Yellow ["Signes en Jaune"]". Medium: Original color collotype. Date: Composed 1937. Printed 1946. Dimensions: Image size: 9 15/16 x 5 7/8 in. (252 x 149 mm).Lot Note(s): Signed in the image, upper left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [21520-1-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Kingdom of the Birds ["Vogelreich"]". Medium: Original color lithograph. Date: Composed 1918. Printed 1949. Dimensions: Image size: 6 3/4 x 9 3/8 in. (171 x 238 mm).Lot Note(s): Signed in the image, upper left. Felix Paul Klee stamp, verso. Small edition. Cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1949. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23650-1-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Blue Night ["Nuit Bleu"]". Medium: Original color collotype. Date: Composed 1937. Printed 1946. Dimensions: Image size: 6 7/16 x 9 3/4 in. (164 x 248 mm).Lot Note(s): Signed in the image, upper right; Felix Paul Klee stamp, verso. Small edition. Cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [21517-1-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Erfüllung". Medium: Original color silkscreen. Date: Composed 1920. Printed 1941. Dimensions: Overall size: 7 7/8 x 6 in. (200 x 152 mm).Lot Note(s): Signed in the plate, center right, dated in the plate lower left; Felix Paul Klee handstamp, verso. Edition unknown, presumed very small. Cream wove paper. Ample margins, as issued. Fine impression. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 and printed the next year. It also had the imprimatur of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later the director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29309-1-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Full Moon in the Garden ["Pleine Lune au Jardin"]". Medium: Original color collotype. Date: Composed 1934. Printed 1946. Dimensions: Image size: 8 3/8 x 10 in. (213 x 254 mm).Lot Note(s): Signed in the image, upper right. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [21514-2-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Heilige vom Innern Licht ["Saint of the Inner Light"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1921. Printed later. Dimensions: Overall size: 10 1/16 x 8 1/8 in. (256 x 206 mm).Lot Note(s): Signed and dated in the plate, lower center; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression with bright, fresh color. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29296-2-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "In Bloom ["Floraison"]". Medium: Original color collotype. Date: Composed 1934. Printed 1946. Dimensions: Image size: 9 5/8 x 9 3/8 in. (244 x 238 mm).Lot Note(s): Signed in the image, upper center; Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [21515-2-400]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Jungfrau im Baum ["Virgin in the Tree"]". Medium: Lithograph after the original etching. Date: Composed 1903. Printed later. Dimensions: Overall size: 6 11/16 x 8 11/16 in. (170 x 221 mm).Lot Note(s): Titled in the plate, lower center; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Printed to the edge of the sheet. Fine impression. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): Please note that the original image was created as an etching by Klee in 1903. At a later date the original etching was used to create this lithograph, hence the very low pre-sale estimates. This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later the director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29301-1-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Lagoon City ["Lagunenstadt"]". Medium: Original color collotype. Date: Composed 1932. Printed 1948. Dimensions: Image size: 10 1/4 x 6 in. (260 x 152 mm).Lot Note(s): Signed in the image, lower left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1948. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23645-2-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Landscape with Yellow Birds ["Paysage aux Oiseaux Jaunes"]". Medium: Original color collotype. Date: Composed 1923. Printed 1946. Dimensions: Image size: 7 7/8 x 9 3/4 in. (200 x 248 mm).Lot Note(s): Signed, dated, titled, and numbered in the image. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until 1946. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [21512-1-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Narretei ["Buffoonery"]". Medium: Original lithograph. Date: Composed 1922. Printed later. Dimensions: Overall size: 9 7/8 x 7 7/16 in. (251 x 189 mm).Lot Note(s): Signed, dated, and titled in the plate; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29306-1-600]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Auftrieb ["Soaring and Gliding"]". Medium: Original color lithograph. Date: Composed 1932. Printed later. Dimensions: Overall size: 9 5/8 x 9 3/4 in. (244 x 248 mm).Lot Note(s): Signed in the image, lower center. Felix Paul Klee handstamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29287-2-400]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Plants - Analytical ["Vegetal et analytique"]". Medium: Original color collotype. Date: Composed 1932. Printed 1957. Dimensions: Image size: 15 1/16 x 5 3/8 in. (383 x 137 mm).Lot Note(s): Signed in the image, upper left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23635-3-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Sangerin der komischen Oper ["Singer of the Comic Opera"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1925. Printed later. Dimensions: Overall size: 9 7/8 x 7 1/8 in. (251 x 181 mm).Lot Note(s): Dated in the plate, lower left; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression with bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29300-2-800]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Schlangen Wege ["Serpentine']". Medium: Original color lithograph. Date: Composed 1934. Printed later. Dimensions: Overall size: 8 5/8 x 11 1/2 in. (219 x 292 mm).Lot Note(s): Felix Paul Klee handstamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29288-2-400]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Stilleben am Schalttag ["Still Life on February 29"]". Medium: Original color lithograph. Date: Composed 1940. Printed later. Dimensions: Overall size: 8 x 11 3/4 in. (203 x 298 mm).Lot Note(s): Signed in the image, upper right. Felix Paul Klee handstamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29289-2-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Terraced Garden ["Jardin en terrasses"]". Medium: Original color collotype. Date: Composed 1920. Printed 1957. Dimensions: Image size: 10 7/16 x 14 9/16 in. (265 x 370 mm).Lot Note(s): Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23630-3-300]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Under the Black Star ["Sous une etoile noire"]". Medium: Original color collotype. Date: Composed 1918. Printed 1957. Dimensions: Image size: 8 3/4 x 6 1/4 in. (222 x 159 mm).Lot Note(s): Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1957. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. [23629-1-225]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Vulgaere Komoedie ["Vulgar Comedy"]". Medium: Original lithograph. Date: Composed 1922. Printed later. Dimensions: Overall size: 6 5/8 x 8 11/16 in. (168 x 221 mm).Lot Note(s): Signed and dated in the plate; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Printed to the edge of the sheet. Fine impression. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29307-1-600]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "With the Two Strays ["Avec les deux egares']". Medium: Original color collotype. Date: Composed 1938. Printed 1956. Dimensions: Image size: 9 1/2 x 13 7/16 in. (241 x 341 mm).Lot Note(s): Signed in the image, lower left. Felix Paul Klee stamp, verso. Small edition. Thin cream wove paper. Printed to the edge of the sheet. Fine impression. Bright, fresh colors. Fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II and its aftermath until 1956. It was printed under the immediate supervision of Felix Paul Klee (1907-1990), Klee's son. Image copyright © Artists Rights Society (ARS), New York. [23636-3-400]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Blumentisch ["Flower Table"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1920. Printed later. Dimensions: Overall size: 10 1/2 x 8 11/16 in. (267 x 221 mm).Lot Note(s): Signed in the plate, lower right; dated in the plate, lower left; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Wide margins. Fine impression with bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29295-2-400]

Artist: Paul Klee (Swiss/German, 1879 - 1940). Title: "Zerstoerung und Hoffnung ["Destruction and Hope"]". Medium: Original color lithograph & stencil/ pochoir. Date: Composed 1916. Printed later. Dimensions: Overall size: 10 1/8 x 7 7/16 in. (257 x 189 mm).Lot Note(s): Signed in the plate, lower center; Felix Paul Klee handstamp, verso. Edition unknown, presumed small. Cream wove textured paper. Ample margins. Fine impression with bright, fresh colors. Very good to fine condition. Provenance: Acquired directly from Felix Paul Klee. Comment(s): This edition was authorized by Klee shortly before his death in 1940 but delayed by World War II until after the war. It was printed under the immediate supervision of Klee's son, Felix Paul Klee (1907-1990), a prominent art historian and later director of the Paul Klee Foundation. Image copyright © Artists Rights Society (ARS), New York. [29293-1-600]

A collection of reference books relating to art and various artists to include Liedtke: Dutch Paintings (In The Metropolitan Museum of Art, volumes I & II, cased edition, 'Hibbard: The Metroplitan Museum of Art, Bracken: The Icon, Grohmann: Klee, Abrams: The Sistine Chapel, Burckhardt: The Alterpiece In Renaissance Italy, Ortiz, Sanchez & Gallego: Velazquez, etc (13) together with 12 'Battles Of The Flag' collectable Wizard presentation postcards.

Paul Klee, architectural abstract lithograph, image 7" x 6", mountedVery good condition

Pablo Picasso lithographic print (Mourlot) circa 1958, 2 x Elisabeth Frink lithographic prints circa 1975, 2 x Henry Moore Shelter prints circa 1940, Paul Klee print, Salvador Dali Print circa 1953, Henri Matisse print circa 1935, HM Bateman print. 9 in total all mounted but unframed. Approx overall sizes 16 x 12 inches

Eight unframed mounted prints of artworks, Braque, Chagall, Klee, Matisse and others. 40x30cm

NO RESERVE Modern Art.- Grohmann (Will) Paul Klee, reprint, 1965; E.L.Kirchner, 1961; Willi Baumeister: Life and Work, [c.1965] § Carls (C.D.) Ernst Barlach, 1969 § Wingler (H.M.) Oskar Kokoschka: The Work of the Painter, [1958] § Overy (Paul) Kandinsky: The Language of the Eye, 1969 § Selz (P.) German Expressionist Painting, Berkeley & Los Angeles, 1957 § Courthion (P.) Rouault, including a catalogue of works..., New York, [c.1962], illustrations, many colour, original cloth or boards with dust-jackets, one or two slightly rubbed or frayed at edges; and 6 others, mostly German Expressionism, 4to & 8vo (14)

Nikos Engonopoulos (Greek, 1910-1985)Jason signed in Greek and dated '51' (lower right)oil on canvas45 x 34.5 cm.Painted in 1951.Footnotes:ExhibitedAthens, Zappeion Hall, 4th 'Armos' Group exhibition, December 10, 1952 - January 10, 1953, no. 93 (listed in the exhibition catalogue, p. 12).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 38, (listed in the exhibition catalogue, p. 295).LiteratureAngloelliniki Epitheorisi, vol. 6, no. 3, Winter 1953-1954, p. 206 (illustrated).N. Engonopoulos, Atlantikos, 1954, p. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, Epta Imeres, Kathimerini weekly magazine, 25.5.1997, p. 30 (illustrated).Nikos Engonopoulos, As Handsome as a Greek, Goulandris-Horn Foundation, Athens 2000 (illustrated on the cover).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 35, pp. 82-84 (discussed), p. 85 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 66, p. 221 (discussed and illustrated). N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 8 (mentioned).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 397, p. 527 (mentioned), p. 270 (illustrated), p. 436 (illustrated).http://www.engonopoulos.gr/_homeEN/bio.html, 2017 (mentioned).The journey beginscome alongwe embarkto foreign landsN. Engonopoulos, Atlantikos, 1954A historic painting, which illustrated N. Engonopoulos's surrealist poem Atlantikos when it was first published in the Angloelliniki Epitheorisi journal in 1954, Jason was exhibited in the 1954 Venice Biennale1 alongside surrealist works by such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte. There, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, 'in the 1946-1954 period, and probably throughout Engonopoulos's career, his most important milestone was the representation of Greece at the Venice Biennale.'2 Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'This brilliant picture shows the ancient Greek hero Jason standing aboard his legendary Argo, which is registered here in the seaside town of Chalkis, wielding a trident in his left hand, while making a characteristic gesture with his right in an effort to discern something in the distance, perhaps the faraway land that stretches on the horizon. This painting was indeed a perfect choice to illustrate Atlantikos, which, as noted by literary critic V. Chadjivassiliou, 'seems to look outward, possibly towards an ontological and existentialist field, where what's primarily at stake is the non-negotiable struggle for freedom, which the poet invokes right from the opening verses: the ship sounds / the train whistles / from the turrets they give the signal / beware / the journey begins / come along / we embark / to foreign lands.'3 Alluding to a heroic past drawn from the treasury of Greek mythology, Jason faithfully reflects the artist's attitude towards painting as an ideal vehicle to probe into the world of Greekness and reinterpret a rich tradition in a modern and vigorous manner. As noted by art historian N. Loizidi, 'Engonopoulos gave us a version of surrealism that's universal, but at the same time deeply rooted in Greekness'.4 His persistence on indigenous cultural sources and experiences clearly indicates that while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a connecting cultural link.5 His 'Greekness' is not only achieved through iconographical choices but it is also shaped by the values of ancient Greece and the principles of Byzantine painting and folk art. As a result, the artist is credited with carrying on the tradition of Greek art from antiquity to the present.6 1 Up until the mid-20th century the Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.3 V. Chadjivassiliou, 'From Bolivar (1944) to Atlantikos (1954): Surrealist Uprising and Defeat in the Poetic Mythology of Nikos Engonopoulos', Lexi magazine, no. 179, January-March 2004, p. 81. 4 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 181.5 See N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.6 See L. Tsikouta, 'On Nikos Engonopoulos' [in Greek], Eikastika magazine, no. 48, December 1985, p. 21.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

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

A Pablo Picasso lithograph circa 1958 (Mourlot), a Georges Braque lithograph circa 1958 (Mourlot), 2 Elisabeth Frink lithographs circa 1975, 2 Henri Matisse prints circa 1935, A Paul Klee print, 2 Henry Moore shelter prints circa 1940 (9 in total, all mounted but unframed)

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013Signed and dated 2013, watercolour (Dimensions: 20cm x 28cm (8in x 11in))Provenance : Gimpel Fils , London Note: Biography: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012Signed and dated, mixed media (Dimensions: 18cm x 26cm (7in x 10.25in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) CARIB ISLAND NO.2 - 1976Signed, gouache (Dimensions: 56.5cm x 81cm (22.25in x 31.75in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1Lithograph, 39/500, signed and numbered in pencil to margin (Dimensions: 57cm x 77cm (22.5in x 30.25in))Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8Signed, inscribed and dated 'March '71' verso to each canvas, oil on canvas across two panels (Dimensions: 152.5cm x 244cm (60in x 96in), total size) (Qty: 2)Provenance: Gimpel & Weitzenhoffer, New York Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY '64Signed, dated and inscribed, watercolour (Dimensions: 55cm x 75cm (21.75in x 29.5in))Provenance : Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

Oil on board, Irish landscape, signed Terence Attridge Williams, 14ins x 16ins, together with a pair of French oils on panel, street scenes with figures, larger oil on canvas, view of cottages and an oil on board, signed Klee, seascape at night

After Paul Klee, coloured print, ' Seaside Town in the South of France ', 10.5ins x 12.75ins in a later gilt frame

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

Paul Klee (1879-1940, Swiss). 'The brown camel'Licensed reproduction25cm x 23cm Framed - 43cm x 41cm Framed watercolour - Blue ChurchIndistinctly Signed30cm x 54cm Framed - 37cm x 61cm (2)

Paul Klee.1879-1940, SwissPropaganda. 1939Reproduction print. Tate gallery label verso. Framed. 43cm x 32cm.

Paul Klee (1897 - 1940), lithograph, surrealist study, signed in the plate, circa 1940s, image 6" x 7", mounted Very good condition

Alfred Waterhouse architectural large poster together with a Paul Klee poster (2)

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2". Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

A Georges Braque lithographic print circa 1959 (Mourlot), a Pablo Picasso lithographic print circa 1959 (Mourlot), an Elisabeth Frink lithographic print circa 1975, 2 Henry Moore shelter sketch prints circa 1940, a Henri Matisse print circa 1935, a Salvador Dali print circa 1953 and a Paul Klee limited edition print (all mounted and unframed, 8 in total).