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PAUL KLEE CARPET FLORENTINISCHES VILLENVIERTEL 1926 DESIGN, manufactured in Denmark by EGE, Axminster, 1988, 202 x 140 cms approximately

Post-war Dolls House Furniture Jigsaws and Plastic Figures, Wooden, metal and plastic dolls house furniture and accessories including examples by Klee Ware, Chad Valley and Hong Kong, boxed jigsaws by Victory, an unboxed Enid Blyton Bumpys Bus example, and others unboxed some complete, together with farm and zoo figures, animal and accessories by Britains, Timpo and others, P-G, Boxes P-F, (Qty)

* Gustav Hellmut Sail [1908-1971]- Life class nudes,:- two, one signed oils on board each 40 x 23cm. [2] * Gustav Hellmut Schmitt was born in Bromborough on the Wirral in 1908 during a period while his German father was working as an architect on the construction of Port Sunlight. His mother died soon after his birth and he was brought up by an aunt in Melsungen, northern Hesse, in Germany. He studied at the Bauhaus where he was taught by Paul Klee and Wassily Kandinsky. As a refugee in 1934 he emigrated from Germany, changed his name to Sail by deed poll and after the war became a teacher at Burton-on-Trent School of Art. He married Barbara Wright at Marylebone Town Hall in 1935 where Duncan Grant, from whom he had rented a Soho flat, was best man. A pupil of Richard Seewald [1889-1976], he first exhibited at the Redfern Gallery in 1935. He retired to West Somerset, where he died in 1971. For a fuller biography please see Sift; Memories of Childhood by his son, the poet Lawrence Sail, published by Impress Books (2010).

A pair of abstract prints on laid paper by Paul Klee.

Paul Klee (Swiss/German, 1879-1940)WINTERLithograph printed in colours, 1938, from the 'Verve Vol. 1, No.3', printed by Mourlot, published by E Teriade, Paris, on wove paper, the full sheet sheet 26.5 x 35.5cm, unframed

Various ArtistsVERVE - THE FRENCH REVIEW OF ART -VOLUME 2 - No. 5-6The publication, 1939, special double number, comprising fourteen lithographs including 4 by Constantin Guys (2 colour), 1 by Braque (colour), 1 by Rouault (colour), 2 by Andre Derain (1 in colour), 1 by Fernand Leger (colour), 2 by Pierre Bonnard (1 in colour), 2 by Henri Matisse (1 in colour), and 1 by Paul Klee (colour), with title-page, text and reproductions, published by Teriade, Paris, each sheet on wove paper, bound as issued in the original pictorial wrappers, head of spine little chipped and foot missing one inchoverall 35.5 x 26.5cm

A MOORE abstract oil on board - timber structure before a bridge and KLEE IGZERS surrealist print - fish, flowers, people etc

Ulf Eriksson, Danish School, mixed media, Try to Catch the Sun, 21 cm x 17.5 cm together with a Paul Klee print (2)

Camille Souter HRHA (b.1929) Japanese Composition II (1956) gouache and watercolour on Japanese tissue signed and dated '56 lower centre 37¼ x 49½cm (14.67 x 19.49in) Collection of Sir Basil Goulding; His Estate Sale; Taylor Galleries, Dublin, 1982; Private Collection Camille Souter - The Mirror and the Sea by Garret Cormican, catalogue no.28, page 216 (illustrated page 218). Brought up in Glenageary, as Betty Pamela Holmes, Camille Souter went to London to study nursing at Guys Hospital and, while there, was diagnosed with TB. That could have been disastrous but she was never gravely ill, she said, and a year's recuperation, mainly spent reading, changed her life. Back in London and working as a private nurse, she absorbed the cultural buzz of Soho and started to paint. Klee and Miro were important to her, as were Pollock and Franz Kline, who showed you could make art with anything. All those influences are apparent here in the spontaneity, the audacious use of line and judicious choice of colour of this playful but accomplished composition.

Paul Klee, lithograph circa 1950s, abstract, published by Museum Of Modern Art, New York, image 7" x 5.5", mounted.

RAYMOND KLEE: "Donegal and Dingle Peninsula", two oil on canvas board landscape scenes, Ottersburn Gallery label verso, 60cm x 80cm

[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) CLASSICAL HEAD - SELF-PORTRAIT Signed and indistinctly dated '46 / '49, watercolour 37cm x 27cm (14.5in x 10.25in) Exhibited: Open Eye Gallery, Edinburgh Note: Few British artists of the 20th century are quite an intriguing as Alan Davie. Low key and independent, Davie operated out with the art world 'scene' until his death in 2014 which means that, despite his popularity amongst critics and collectors, he isn't the household name he perhaps deserves to be. Born in Grangemouth, Scotland in 1920, Davie studied at the Edinburgh College of Art, developing a fascination with Continental artists including Paul Klee and Wassily Kandinsky. The quintessential polymath, his artistry encompassed jewellery-making, poetry and, most significantly of all, jazz music. He was an extremely talented musician and constantly sought to find ways to break down the boundaries of expression; seeking to literally convey music on canvas. The list of his friends and admirers is quite extraordinary given his lack of ego and choice to plough a furrow out of the limelight. He met and was admired by the great collector Peggy Guggenheim in Venice in the late 1940s and was close to members of the American Abstract Expressionist movement including Jackson Pollock. However, Davie gradually moved away from gestural expression to a more clarified vision, as shown in this fantastic example which is amply demonstrative of the complexity of his ideas. Taking reference points from a vast area of art history - Celtic, Buddhist, African, Hindi and Modernist to name but a few - he created a language of emblems and symbols with the aim of capturing the "mysterious and spiritual forces normally beyond our comprehension". Davie's esotericism and eccentricity earned him the reputation as something of a "shaman", a fitting title for an artist who sought to live his entire life as an exploration of the magic that underpins art, music and philosophy. The artist has had retrospectives at the Barbican, London, Tate St Ives and Tate Britain. He was appointed CBE in 1972 and elected a senior Royal Academician in 2012.

[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) OPUS 0.163 - MIRACULOUS FRUIT MAKERS, 1960 Signed and dated upper left, titled verso, oil on paper 42cm x 53.5cm (16.5in x 21in) Exhibited: 'Collector's Choice', Gimpel Fils, London; July 1967 Provenance: The artist's studio; Collection of Caroline Duveen, UK; Gimpel Fils, London; Private Collection, London Note: Few British artists of the 20th century are quite as intriguing as Alan Davie. Low key and independent, Davie operated outwith the art world 'scene' until his death in 2014 which means that, despite his popularity amongst critics and collectors, he isn't the household name he perhaps deserves to be. Born in Grangemouth, Scotland in 1920, Davie studied at the Edinburgh College of Art, developing a fascination with Continental artists including Paul Klee and Wassily Kandinsky. The quintessential polymath, his artistry encompassed jewellery-making, poetry and, most significantly of all, jazz music. He was an extremely talented musician and constantly sought to find ways to break down the boundaries of expression; seeking to literally convey music on canvas. The list of his friends and admirers is quite extraordinary given his lack of ego and choice to plough a furrow out of the limelight. He met and was admired by the great collector Peggy Guggenheim in Venice in the late 1940s and was close to members of the American Abstract Expressionist movement including Jackson Pollock. However, Davie gradually moved away from gestural expression to a more clarified vision, as shown in this fantastic example which is amply demonstrative of the complexity of his ideas. Taking reference points from a vast area of art history - Celtic, Buddhist, African, Hindi and Modernist to name but a few - he created a language of emblems and symbols with the aim of capturing the "mysterious and spiritual forces normally beyond our comprehension". Davie's esotericism and eccentricity earned him the reputation as something of a "shaman", a fitting title for an artist who sought to live his entire life as an exploration of the magic that underpins art, music and philosophy. The artist has had retrospectives at the Barbican, London, Tate St Ives and Tate Britain. He was appointed CBE in 1972 and elected a senior Royal Academician in 2012.

After Paul Klee - a framed art print together with a framed indistinctly signed art print of a haunting image of five women

After Paul Klee [1879-1940]-Tete d'Enfant:lithograph printed by Mourlot, Paris34 x 25cm.

Paul Klee print; and S Fanshaw - Pair; Autumn & Sunrise over wheatfield, prints (2)

A screen print poster for an exhibition by Paul Klee published in 1985.

3 Deco Period Prints ' Vase of Flowers ' by Raul Dufy, ' Roses Under Trees ' by Gustav Klimt 1905 & An Abstract by Paul Klee ' Gruner Kirchturm Als Centrum, Dated 1917.

Verve: An Artistic and Literary Quarterly, No.3, edited by E.Tériade, with 4 original colour lithographs by Marc Chagall, Joan Miro, Rattner and Paul Klee, original pictorial wrappers by Pierre Bonnard, spine slightly torn and creased at foot, Paris, 1938 § XXe Siècle, Nouvelle Série No.2 (double), edited by G. di San Lazzaro, with 3 original colour lithographs by Fernand Léger, Charles Lapicque and Alberto Magnelli, and an etching by Jacques Villon, original pictorial wrappers by Klee, a little browned, Paris, 1952 § Arp (Jean/Hans) On My Way: Poetry and Essays 1912...1947, with 2 original woodcuts by Arp, original printed wrappers, very lightly rubbed, New York, 1948, 4to (3)

Verve: The French Review of Art, Nos.5/6, 14 colour lithographs Guys (4), Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse (2) and Klee, plates and illustrations, some mounted, title lightly browned, contemporary boards, rubbed, original colour lithograph wrappers by Maillol bound in, 4to, Paris, 1939.

Paul Klee (1879-1940)STREET SCENEOffset lithograph after an oilimage size 34.5 x 75.5cm

Verve: Revue Artistique et Littéraire/An Artistic and Literary Quarterly, edited by E.Tériade, nos.1-38 in 26 vol. [a complete set], no.1-4 in English, the rest in French, with numerous original colour lithographs as called for by Picasso, Chagall, Matisse, Léger, Miro, Kandinsky, Bonnard and others (see below), some double-page, many printed on both sides of sheet, numerous other plates and illustrations, many colour, some tipped in, most original pictorial wrappers or boards (many original lithographs), some rubbing, slight wear to a few spine ends and one or two small splits to joints but overall in very good condition, no.4 with slip-case (rubbed, split at joints), 4to, Paris & London, lithographs printed by Mourlot Frères, 1937-60. ⁂ An excellent set of this important French art magazine comprising: No.1 Lithographs by Léger, Miro, Rattner & Borès, cover by Matisse. No.2 Lithographs by Kandinsky (2) & Masson (2), cover by Braque. No.3 Lithographs by Chagall, Miro, Rattner & Klee, cover by Bonnard. No.4 Lithographs by Matisse (4, one double-page of La Danse) & Derain (4), cover by Rouault. No.5/6 Lithographs by Guys (4), Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse (2) & Klee, cover by Maillol. No.7 Les Très Riches Heures du Duc de Berry: Le Calendrier par Pol de Limbourg & Jean Colombe. No.8 Lithograph by Bonnard, cover by Matisse. No.9 Les Fouquet de la Bibliothèque Nationale. No.10 Les Très Riches Heures du Duc de Berry: Images de la Vie de Jésus par Pol de Limbourg & Jean Colombe. No.11 Les Fouquet de Chantilly. Les Heures d'Étienne Chevalier: Vie de Jésus par Jean Fouquet. No.12 Les Fouquet de Chantilly. Les Heures d'Étienne Chevalier: La Vierge et les Saints par Jean Fouquet. No.13 Matisse. De la Couleur, 2 lithographs and cover by Matisse. No.14/15 Jean Bourdichon: Les Heures d'Anne de Bretagne. No.16 René d'Anjou: Traité de la Forme et Devis d'un Tournoi. No.17/18 Couleur de Bonnard, lithograph and cover by Bonnard. No.19/20 Couleur de Picasso, cover by Picasso. No.21/22 Matisse. Vence 1944-48, lithograph title and cover by Matisse. No.23 Le Livre du Coeur d'Amour Épris du Roi René, cover by Matisse. No.24 Contes de Boccace: Peintures du Manuscrit des Ducs de Bourgogne, Bibliothèque de l'Arsenal, cover by Chagall. No.25/26 Picasso à Vallauris 1949-1951, lithograph and cover by Picasso. No.27/28 Lithographs by Braque (2), Matisse (4), Laurens (2), Giacometti (2), Masson (4), Léger (4), Miro (4), Borès (2), Gromaire (2) & Chagall (8), cover by Braque. No.29/30 Suite de 180 Dessins de Picasso 28 Novembre 1953 au 3 Février 1954, 16 lithographs and cover by Picasso. No.31/32 Carnets Intimes de G.Braque, lithographs and cover by Braque. No.33/34 Illustrations for the Bible by Marc Chagall, 17 lithographs and cover by Chagall. No.35/36 Dernières Oeuvres de Matisse 1950-1954, 40 lithographs and cover by Matisse. No.37/38 Marc Chagall. Dessins pour la Bible, 24 lithographs and cover by Chagall.

A selection of prints after Paul Klee and Vasily Kandinsky

3 Deco Period Prints ' Vase of Flowers ' by Raul Dufy, ' Roses Under Trees ' by Gustav Klimt 1905 & An Abstract by Paul Klee ' Gruner Kirchturm Als Centrum, Dated 1917.

[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) INSIGNIA FOR THE LITTLE WHITE HORSE Signed and inscribed with title and dated 2007 verso, oil on canvas 76cm x 96cm (30in x 37.75in) Note: Alan Davie was born in Grangemouth, Scotland in 1920. His father was a schoolmaster and amateur painter and Alan studied at Edinburgh College of Art in the late 1930s. Jazz had always played an important part in his life and having served with the army in WWII, in 1947 Davie worked as a full time jazz saxophonist and at the same time started to make jewellery, write poetry and design textiles. The following year, now married, he began to travel, visiting Venice, where he was intrigued by the work of Pollock and De Kooning, in the Guggenheim collection. Inspired to start painting again, Davie painted several pictures on rolls of cheap paper in his hotel room. Two were immediately bought by Peggy Guggenheim, who also introduced him to London gallery Gimpel Fils. American abstract expressionism, married with an interest in African art and the influence of Picasso and Klee, formed the roots of Davie's work throughout the 1950s. From the mid fifties an interest in Zen Buddhism and oriental mysticism added further nuances, along with further exposure to the Americans at the time of his first show in New York in 1956. Largely ignored at this time in his homeland, Davie began to sell overseas and finally elevated from poverty, bought a house in Cornwall where he mingled with a number of St Ives artists. From the 1960s Davie maintained that his work, despite its appearance, was not abstract but consisted of emotive common symbols, which spoke directly to the viewer. His role, he insisted was that of a 'shaman', acting as a link between the viewer and the intractable. Taking his cue from the Surrealists, his method was an essentially spontaneous, almost automatic, attempt to unlock the unconscious. Davie's work contains numerous overlapping references to magic, religion and primitive art, in particularly that of the Navajo, Carib, Australian Aborigine, ancient Egyptian, Celt and Pict. This very late painting, Insignias for the Little White Horse, is typical of his mature work. Against a monochrome blue ground, itself suggestive of the spiritual, animals and objects float suspended. Among these, the white horse of the title, the bird and the snake, all resonate with ancient significance in tribal art. While it is tempting to interpret the central motif as an open mouth, as ever with Davie, the moment that one attempts to decipher his hieroglyphs, multiple other meanings become evident. In his later years Davie received many plaudits. His CBE in 1972 was followed by retrospectives in London and New York in 1993, Chicago in 1994 and Edinburgh in 2000 and a major show at Tate Britain in April 2014, the month of his death.

Klee acrylic on board man reading a newspaper, signed lower right, 60 x 80cm

Paul Klee (1879-1940) 'Blauer-Vogel-Kurbis', colour lithograph, printed signature to the image and copyright D.J. lettering, titled and dated 1939 with NN7 in ink to the margin, numbered 28/250, 26cm x 41cm. DDS

Unused Retail Stock - seventeen lady's fashion items by Full Circle comprising Klee wide leg trousers and Flame lady's dress, in various sizes all wrapped in original packaging

PAUL KLEE 'Winter', original lithograph, 1938, printed by Mourlot Freres, 24cm x 35cm, framed.

VERVE: The French Review of Art. Volume II, Nos. 5-6; Paris, 1939. Illustrated throughout and including 14 original lithographs: 4 by Constantin Guys;1 by Braque; 1 by Rouault; 2 by Andre Derain; 1 by Fernand Leger; 2 by Pierre Bonnard; 2 by Henri Matisse; nd 1 by Paul Klee (many coloured). 4to. Original pictorial wrappers; lacking most of the spine, and contents little loose; Plus 10 other Art related books, etc. including: William Blake, The Marriage of Heaven and Hell, 1927 (Facsimile edition); Digby: Symbol and Image in William Blake; Collins, J: Eric Gill: The Sculpture. A Catalogue Raisonne; Catullus, Gaius Valerius: Scriptorum Classicorum Bibliotheca Riccardiana catulli.. Numbered Limited edition, 113/1000. Full vellum binding with ties; Etc. (11)

A colour print after Paul Klee, 'Underwater Garden', 54 x 42 cm

Group of five art exhibition posters: 1. Original vintage advertising poster for Francis Picabia Civic Gallery of Modern and Contemporary Art Turin. Good condition, creases and small tears on margins. Country: Italy. Year: 1974. Designer: Francis Picabia. Size: 89.5 x 65. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Very good condition, few creases on the image. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Ben Nicholson Exhibition held in Hirshhorn Museum Washington. Good condition, creases in coreners. Country: USA. Year: 1978. Designer: Ben Nicholson. Size: 91.5 x 58.5. 4. Original vintage adverising poster for Pietro Consagro's Graphic Works and Drawings Exhibitions held in Rome in 1977. Pietro Consagra was one of Italy's leading postwar sculptors. Good condition, few stains on the image, small tear on top, creases on margins. Country: Italy. Year: 1977. Designer: Pietro Consagro. Size: 70 x 50. 5. Original vintage advertising poster for Vespignani Between Two Wars Padiglione d'arte contemporanea Ferrara. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Vespignani. Size: 98 x 68.

Group of five art exhibition posters: 1. Original vintage advertising poster for Jean Dubuffet Coucou Bazar Turin. Palazzo della Promotrice Valentino Turin. Very good condition, small creases on margins. Country: Italy. Year: 1979. Designer: Jean Dubuffet. Size: 86.5 x 61.5. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Fair condition, paper loss and stain in the upper right corner, small tears on the right margin. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Tapies Exhibition held in National Museum of Modern Art Paris. Very good condition, crease in the upper left corner. Country: France. Year; 1973. Designer: Tapies. Size: 72.5 x 50. 4. Original vintage advertising poster for Honegger Exhibition held in National Museum of Modern Art Paris. Excellent condition. Country: France. Year: 1978. Designer: Unknown. Size: 60 x 40. 5. Original vintage advertising poster for Rudolf Lichtsteiner Kunsthaus Zurich. Excellent condition. Country: Switzerland. Year: 1980. Designer: Rudolf Lichtsteiner. Size: 64 x 45.

Group of five art exhibition posters: 1. Original vintage advertising poster for Paul Klee Exhibition held in Palazzo Pallavicini Rome. Good condition, creases and small tear on margins. Country: Italy. Year: 1979. Designer: Mauro Buzzi. Size: 99.5 x 68. 2. Original vintage adverising poster for Paul Klee held in Florence in 1981. Good condition, few creases on the image, small tears on the right margin. Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Country: Italy. Year: 1981. Designer: Paul Klee. Size: 68 x 48.5. 3. Original vintage advertising poster for Guacci Exhibition held in Art Expo International '78 Palm Springs. Good condition, few scratches on the image, signed by Guacci. Country: Switzerland. Year: 1974. Designer: Unknown. Size: 70 x 50. 4. Original vintage advertising poster for International Art Photography Competition Palazzo Dei Papi Orvieto. Good condition, tears on the image and on top margin. Country: Italy. Year: 1980. Designer: Unknown. Size: 96 x 67. 5. Original vintage advertising poster for Metaphysics: The Twenty Years Galleria d'Arte Moderna Bologna. Good condition, creases on the bottom. Country: Italy. Year: 1980. Designer: C. Carra. Size: 87 x 63.

Paul Klee for Egetæpper, Art Line, a 'Rya' rug bearing the woven signature, 104 x 206 cm CONDITION REPORT: No obvious fraying or significant wear to wool itself. Marks and blotches throughout (see additional images). Label verso.

BOOKS - MAINLY GLOSSY REFERENCE RELATING TO ART AND ARTISTS TO INCLUDE; PAUL KLEE, ROWLAND HILDER, HENRY ROUSSEAU THE PORTLAND HOUSE 'PAINTING AND DRAWING COURSE' ETC.... (CONTENTS OF TWO BOXES)

Paul Klee (Swiss/German, 1879-1940)WINTERLithograph printed in colours, 1938, from the 'Verve Vol. I, No.3', printed by Mourlot, published by E Teriade, Paris, on wove paper, the full sheet sheet 35.5 x 26.5cm, unframed

Klee, Dali and LautrecArt books

KLEE, Paul, Paul Klee re-discovered, 4to 2000, with other art books (3 boxes)

KLEE OIL PAINTING ON BOARD 'Barges, Paris' Signed lower right and signed, titled and dated 1965 verso 28" x 19" (71 x 48.5cm)

signed oil on board 33 by 56,5cm (including frame) In this mixed media work the artist evokes a humble corrugated iron shelter and white-washed lean-to with a series of golden-yellow rounded forms, reminiscent of pumpkins ripening on a roof. He has cleverly extended the canvas onto the surrounding striations of the picture frame in order to depict smoke rising from the whitewashed chimney, creating in his own distinct manner an iconic rural Cape scene. Stanley Pinker was an artist and recipient of the Molteno Medal for painting. His contribution to our cultural landscape is immeasurable and he is celebrated as belonging to a continuum of great artists from Cezanne to Matisse He worked at Michaelis School of Fine Art as a lecturer for many years until 1986 when he retired. In 2012, at the age of 87, he passed away after a lifetime in art. ?He was one of the few SA painters who understood and continued to explore the implications of Cubism and painterly, textural surface-materiality with intelligence and wit. Ingenious in his magpie eclecticism, he drew inspiration from the moderns from Cezanne to Braque to Matisse to Klee. Infusing his work with something of the humour of pop art, he focused on subjects and an ironic content particularly reflective of South(ern) Africa?s beautiful landscapes; its society and its ills, creating a unique vision and a leaving us a great artistic legacy. No SA art museum can ever have enough of his work.? Hayden Proud, curator of historical paintings at Iziko SA National Gallery, was taught by Pinker. - Carol Kaufmann

Matisse (Henri).- Verve: Revue Artistique et Littéraire/An Artistic and Literary Quarterly, edited by E.Tériade, nos.1-17/18, 21/22, 23 & 24 (of 38) in 16 vol., nos.1, 2-4, 5/6 & 8 in English, the rest French, with numerous original colour lithographs as called for by Matisse, Léger, Miro, Kandinsky, Bonnard and others (see below), some double-page, many printed on both sides of sheet, numerous other plates and illustrations, many colour, some tipped in, very occasional spotting, mostly to text, most original pictorial wrappers or boards (many original lithographs), some with glacine wrappers, rubbed, some spines frayed, one or two slightly defective, no,1 contemporary cloth with original covers by Matisse bound in, nos.2-4 bound in 1 vol. in cloth with duplicates of some Indian plates loosely inserted, no.5/6 broken and loose, 4to, Paris & London, lithographs printed by Mourlot Frères, 1937-50. ⁂ A good set of this important French art magazine including most of the issues with contributions by Matisse and with all those relating to illuminated manscripts, comprising: No.1 Lithographs by Léger, Miro, Rattner & Borès, cover by Matisse. No.2 Lithographs by Kandinsky (2) & Masson (2), cover by Braque. No.3 Lithographs by Chagall, Miro, Rattner & Klee, cover by Bonnard. No.4 Lithographs by Matisse (4, one double-page of La Danse) & Derain (4), cover by Rouault. No.5/6 Lithographs by Guys (4), Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse (2) & Klee, cover by Maillol. No.7 Les Très Riches Heures du Duc de Berry: Le Calendrier par Pol de Limbourg & Jean Colombe. No.8 Lithograph by Bonnard, cover by Matisse. With plate 'Hands' by Matisse and introduction by Julien Cain not found in French edition. No.9 Les Fouquet de la Bibliothèque Nationale. No.10 Les Très Riches Heures du Duc de Berry: Images de la Vie de Jésus par Pol de Limbourg & Jean Colombe. No.11 Les Fouquet de Chantilly. Les Heures d'Étienne Chevalier: Vie de Jésus par Jean Fouquet. No.12 Les Fouquet de Chantilly. Les Heures d'Étienne Chevalier: La Vierge et les Saints par Jean Fouquet. No.13 Matisse. De la Couleur, 2 lithographs and cover by Matisse. No.14/15 Jean Bourdichon: Les Heures d'Anne de Bretagne. No.16 René d'Anjou: Traité de la Forme et Devis d'un Tournoi. No.17/18 Couleur de Bonnard, lithograph and cover by Bonnard. No.21/22 Matisse. Vence 1944-48, lithograph title and cover by Matisse. No.23 Le Livre du Coeur d'Amour Épris du Roi René, cover by Matisse. No.24 Contes de Boccace: Peintures du Manuscrit des Ducs de Bourgogne, Bibliothèque de l'Arsenal, cover by Chagall.

*Steensma (20th century) Study of a black bird, indistinctly signed and dated (19)91 together with a print after Klee, Garabed Der Hohannesian abstract study; a study of a plough, indistinctly signed pastel depicting an Autumn Garden and an early 20th century woodblock print entitled still life (6)

A collection of modern framed prints, from Picasso, Klee and others etc

After Paul Klee Swiss -German 1879-1940, limited edition print, landscape with house at night, printed signature, limited edition number, 92/300 48 cm X 62 cm

Paul Basilius Barth (Swiss 1881-1955) - Franz Fischerdorf Oil on board 32.5 x 38.5cm (12 3/4 x 15 1/4in.) Provenance: with Gallery Munsteberg, Basel Paul Basilius Barth was born in Basel, 1881. In 1898, Barth started an apprenticeship as a Dekorationsmalerei working on murals and stage designs. From 1902 until 1904, Barth studied in Munich at the Kunstakademie and at the painting school run by Heinrich Knirr. Other students who studied under Knirr included Paul Klee and Rudolf Levy. Barth then moved to work in Italy travelling to Florence and Rome. By 1906, he had moved to Paris and entered the Académie Julian where artists such as Léon Bakst, Maurice Denis and Andre Derain also studied. He was to become great friends with Maurice Denis. He became acquainted with Henri Matisse at the Académie Humbert. Barth spent the last years of his life back in Switzerland and had a studio in Güttingen on Lake Constance . Paul Basilius Barth died in 1955 in Riehen.

Attributed to: Paul Klee, Swiss/German (1879 - 1940) Gouache on paper "Boot Schwimmend/Boat Floating" Signed lower right and dated 1927. COA Included. Good condition with a soft fold at center. Measures 15" x 12-1/2", frame measures 26" x 22". Provenance: Galerie A. Dupeux & Cie, Paris. Shipping $225.00 (estimate $5000-$7000)

Modern School, 3 framed studio abstract posters After 'Klimpt, Klee & Picasso', various sizes, f/g

A 1961 Galerie Beyeler, Basele exhibition 'Teppiche' - featuring Leger, Klee, Miro and Pcasso. 84cm x 60cm

VOLTAIRE (F-M. A.) Candide. Limited Edition. text illus. (by Paul Klee) & with 2 sets of separate prints of the illus. in end pocket; morocco-backed grey buckram, in slipcase. New York, (1944),

A mid Century Hungarian tapestry wall hanging In the manner of Paul Klee, having stylised decoration on a grey ground, 72 x 270cm

KLEE (Paul): 'Ten Facsimiles', printed in Sweitzerland by Phoebus-Verlag, Basel, 1957. Ten colour collotype reproductions with tissue guards, large folio, bound in hessian covered boards. (1)

Paul Klee (German, 1879-1940)WINTERLithograph printed in colours, 1938, from from Verve, Vol I, no.3, printed by Mourlot, published by Tériade, Paris, on wove paper, the full sheet printed to the edgesimage 22.2 x 35cm, framed

Paul Klee - A framed studio poster entitles 'With Two Dromedaries And One Donkey, 1919'

Teriade (E.). Verve. The French Review of Art, Nos. 5-6, France, July-October 1939, numerous colour and monochrome illustrations, illuminations and lithographs including Henri Matisse and Paul Klee, some light marks, partially disbound, spine missing and front cover detached with loss, folio, together with Pr‚vert (Jacques & Ribemont-Dessaignes, G.), Joan Miro, Paris, 1956, 119 colour and monochrome illustrations, including folding plates, original boards in dust jackets, covers slightly rubbed to head and foot, 4to, and other modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (a carton)

Raymond Klee - oil on board depicting a harbour scene.

Raymond Klee - oil on board depicting a harbour scene.

Ensemble de deux affiches A 1 : Jean Tinguely, Hommage à Paul Klee Museum für Gegenwartskunst Basel 1980.127x86.5 cm.Le Corbusier, Galerie Werner Bommer 7 nov-6 déc. 87.128x90 cm. Condition: Tinguely affiche coupée.Modern Prints & Design Prints & DesignAffiches - Posters - Plakate

Klee (20th Century British). Oil on board.

After Paul Klee,Limited Edition colour lithograph, abstract composition, unsigned, no. 15/200, i 19.5" x 11", framed.