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Erik Nitsche (Swiss, 1908 - 1998) ""Man Without Heart" Sculpture" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was published on the Fleetwood First Day Cover for the Netherlands Europa 1987 Modern Art - Architecture stamp issued May 12, 1987. The sculpture featured in this artwork commemorates the devastation of Rotterdam during World War II. Rotterdam is the second largest city in the Netherlands and the largest port in Europe in terms of volume of goods handled. On May 14, 1940, several hours after the city had surrendered, the Germans bombed Rotterdam, devastating some 645 acres of the center of the city, destroying thousands of dwellings, retail shops, factories, office buildings, banks, hotels, theaters, churches, schools, and it is estimated that 30,000 people were killed. After the war, the city fought its way back to new vigor, rebuilding along ultramodern lines. The city's rehabilitation is expressed by the motto which Queen Juliana added to its coat of arms, "Stronger through struggle." This sculpture is entitled "Verwustete Stadt -- Mann ohne Herz," meaning "Bombed Out City -- Man without Heart." The sculpture was created by Ossip Zadkine, who was born in 1890 in Russia, and died in 1967 in France. The "Man without Heart" sculpture symbolized Rotterdam's devastation by the Nazis in World War II. Image Size: 14 x 12 in. Overall Size: 20 x 15 in. Unframed. (B10763)

2 volumes of Old and Modern Masters and another art book.

A modern art glass vase with brown garland decoration, 35 cm high. CONDITION REPORT: In good condition, requires cleaning

A modern 925 grade white metal and art glass pendant and chain, by Haresteanes Glass Studio, boxed. CONDITION REPORT: In good used condition with some minor scratching and tarnishing.

Ilya and Emilia Kabakov - Not Everyone Will Be Taken Into The Future - Tate Modern - 2018 - An original art gallery advertising poster from an exhibition by artists Ilya and Emilia Kabakov at the Tate Modern Gallery 2018. The framed poster featuring a photograph of one of their visual installations with title and artists names printed in yellow text. Measures approx 65x47cmThe Kabakovs are amongst the most celebrated artists of their generation, widely known for their large-scale installations and use of fictional personas. Critiquing the conventions of art history and drawing upon the visual culture of the former Soviet Union their work addresses universal ideas of utopia and fantasy; hope and fear.

A modern Art Nouveau style clock, 13.5cm

A 'half set' of six late 18th century Italian patinated and parcel gilt bronze busts of Roman Emperorsprobably Roman and by Francesco Righetti (1749-1819) each clad in drapery on circular-waisted soccles below integral cartouche plaques, inscribed: AVGVSTVS, CALLICVIA, GALBA, OTHO, VESPASIANVS and TITO ,the smallest 29cm high, the largest 31cm high. (6)Footnotes:ProvenanceProperty of an important Spanish noble family, El Retiro, Churriana, Málaga, SpainRelated LiteratureDESCRIPCION DE LA CASA DE CAMPO DEL RETIRO DEL CONDE DE VILLALCAZAR. MALAGA, 1814, pp. 8-9 The entry in the 'Gallery of the Emperors' stating 'Among the works of sculpture, there is a bust of Vitellius in bronze of great merit, and six more heads, which are Augustus, Caligula, Galba, Otho, Vespasian and Titus.', the later six heads apparently being the 'half set' of busts which constitute the present lot with the first head being a larger and separate but perhaps related bust of Vitellius -now lost.Comparative LiteratureFrits Scholten [ed.], Willem van Tetrode, sculptor, exh. cat., Rijksmuseum, Amsterdam / Frick Collection, New York, Ansterdam / New York, 2003, p. 116, no. 6Bertrand Jestaz, Copies d'antiques au Palais Farnese: Les fontes de Guglielmo della Porta', in Melanges de l'Ecole Francaise de Rome: Italie et Mediterranee, vol. 105, 1993, 1, pp. 7-48, esp. pp. 30-41, figs. 17-28Charles Avery, Soldani's mythological bronzes and his British clientele, in Sculpture Journal, XIV, 2005, pp. 8-29The tradition of producing sets of roughly half life-size busts depicting Suetonius's series of Twelve Roman Emperors began with a dozen (27cm. high) made in bronze for oval niches on the front of an elaborate wooden studio-cabinet - with other statuettes - by Willem van Tetrode (c. 1525-1580). A Dutch immigrant - as part of his journeyman years as a sculptor / bronze-founder - he had travelled to Florence (to work with Cellini) and then on to Rome, with Guglielmo della Porta. In the latter's post-mortem inventory of 1575, a dozen emperors are listed and they are thought to have been based on a set of life-size marble busts carved by Tomasso della Porta for Alessandro Farnese. The details of their cuirasses and the fall of their togas are more carefully differentiated than those on the present series, but the bases are simpler, having only small squarish cartouches below with indications of their names, e.g. 'N' for Nero (unlike the present, elaborate, baroque, cartouches with their full names given in relief in capital letters).No other sets by Tetrode are known, but - following the trail of Tetrode's later return to his native Netherlands - a silversmith in Delft, Thomas Cruse (who died in 1624) owned a number of Tetrode's models, among them sets of piece-moulds for twelve emperors. Such an artist might well have fashioned the then 'modern' curlicues round the name-labels shown on our set and spelt out their names for 'northern humanist collectors'.The famous Florentine sculptors seem not to have indulged in series of small emperor-busts during the long post-Michelangelo period, which was otherwise dominated initially by Bandinelli and Bandini (whose sculptures and busts of the Medici closely resembled ancient ones) and by the Flemish immigrant Giambologna (1529-1608). Nor have any been attributed to his followers in bronze, the two Susinis or the two Taccas, whose work stretched far into the 17th century.One has to wait until early in the following century evidence for the further distinct production of such busts in series of a dozen, with their empresses too, this time in Florence once more: a letter of 22 November 1707 from the Grand-ducal Chamberlain to the Medici Grand-dukes, Lorenzo Magnolfi, who also acted as a high-level art-agent for grandees, furnishes the names of three pioneer patrons among the British for Soldani in the role of sculptor. It was addressed to one of them, Sir John Perceval of Burton, County Cork, later Earl of Egmont (1683-1748), who spent six months in Italy while on his Grand Tour: 'you may order Messrs Arundel and Bates to reimburse me for the said heads, and for the busts and statues you did order to Signor Massimilano Soldani which are already done and packed up; and there are twenty four heads and three statues, and I hope you will be pleased with them since they are very well done ...'. Judging from this bald description, as well as from Perceval's intention expressed elsewhere that his works of art be for 'the use of an accademy (sic) of painters which he purposed to forward the erecting in Ireland', one might infer that they were after ancient prototypes. The high, even, number of twenty-four indicates probably that a set of the usual 'Twelve Caesars', with their wives, was being supplied. Soldani did indeed produce a few accomplished life-sized, highly polished busts after the antique, but so high a number suggests that these were not life-size. Disaster befell both of Perceval's shipments. They were captured by French privateers in 1707 and 1709, the spoils presumably being fed into the art market in France, unless they were melted down to make cannon. No such busts on a reduced scale - suitable for the tops of desks, cabinets or bookshelves in British libraries - are known. Thereafter, with the advent of Neo-classicism and the ever-increasing flood of adolescent British boys - steeped in the Classics, owing to the need to help create a new British Empire, the equivalent of Rome's - the onus of producing such attractive and eye-catching sets of emperors reverted to Rome. By the 1790s, ingenious goldsmith/bronze-founders in the Eternal City were producing pseudo-antiquities in commercial quantities and distributed printed price lists of their product. One from Francesco Righetti - in the international diplomatic language of French - included, among his 'Bustes avec leur Base Doree, en tout, hauts d'un palme, cinq onces', an item, 'Les douze Cesars a 12 sequins l'un' - or 144 sequins for the set. Their height - in Roman palms and inches - was therefore the same as the present series, while their surfaces and patina were meant to imitate antiquities, such as were then being excavated in Pompeii and Herculaneum: this clinches the probability that they date from the second half of the 18th century and were made in Rome. Righetti may well have fallen back on older models from the late Renaissance or early Baroque periods, such as have been described above, in order to produce his set speedily and economically.For further information on this lot please visit Bonhams.com

A German late 18th century ormolu and white marble mounted mahogany, burr elm, maple, mother-of-pearl and stained sycamore 'Schreibschrank' attributed to the circle of David RoentgenCirca 1795, the superstructure comprising a pierced fretwork gallery surmounted by five urn finials above a pair of mirror-inset panel mounted doors enclosing one shelf, interspersed with three Corinthian columns, over a concealed stepped central drawer flanked by projecting block and urn finial mounted angles, the frieze drawer below with an inset hinged top, above a fall enclosing an architectural interior comprising a catch-activated cedar-lined drawer with triangular pediment mouldings, over a central arched recess with a mirrored interior and chequered lozenge-inlaid floor centred by a model tempietto, flanked by two arched recesses and interspersed with four composite columns and two conforming engaged end columns, with two pierced fretwork secret drawers below, above five catch-activated mahogany-lined drawers, the reverse of the fall inlaid with a central conch shell oval, over a ribbon-tied oak-leaf mounted waist with projecting mille raie block angles, with three long panelled drawers below, flanked by canted classical youth herm-tapering and husk pendant mounted pilaster angles, terminating in square tapering panelled feet, 112cm wide x 54cm deep x 210cm high, (44in wide x 21in deep x 82 1/2in high)Footnotes:ProvenanceFormerly from the Estate of Elizabeth Fondaras, USA.With Peter Muhlbauer, Lower Bavaria, between 2013 and 2017.Then purchased by the vendor from Christie's, London, 4 July 2017, European Furniture and Works of Art, lot 57.A comparable, albeit slightly plainer, version of the offered lot sold Christie's, Amsterdam, 24-25 June 2008, lot 751. This Berlin 'Schreibschrank', or secretaire a abbatant, attributed to Georg Ruppert is of similar design and incorporates related characteristics such as white marble or alabaster columns, the Ionic capitals appearing one level below Corinthian ones, a galleried cabinet superstructure and a fitted architectural interior. It was supplied by Ruppert to the Prussian General Carl Freidrich Henrich, Graf von Wylich und Lottum (1767-1841).Although due to the current absence of relevant documentation the cabinet maker responsible for the present secretaire is unknown, as more academic research is completed and further information made public then this will inevitably change over time. However for now it is clearly the case that whoever produced such a magnificent piece, or meisterstuck, of German craftsmanship had undoubtedly been directly influenced by the incredible output and legacy of one of the most renowned cabinet makers of all time, David Roentgen (1743-1807).This wonderful secretaire perfectly typifies the latter stages of the Neoclassical style, and in particular the gout Grec, which was indicative of the height of fashion across Europe during the period 1770-1800. The impact of David Roentgen, whose output was always distinct, elegant, supremely high quality in terms of its construction and often enclosed ingenious mechanisms, especially dominated Prussia, or what is now modern day Germany. And this impact can be seen in the works produced by the contemporaries and immediate successors of Roentgen, which very often sought to emulate the latter's example and merely introduced subtle variations to his stock designs and clearly defined models. It is also worth noting that, during the peak of its fame, the annual income of the Roentgen workshop rivalled that of the Meissen porcelain manufactory, W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, p. 3.As a result of Roentgen's successful personal and working relationship with perhaps his most important patron, Crown Prince Frederick William who later became Emperor Frederick William II, he was honoured with the title of Royal Prussian Privy Councillor. Then in 1791, by which time Roentgen had evidently already begun to draw back from accepting new commissions, he chose to give his financial backing and influential support to his foreman, David Hacker, so that the latter could set up his own workshop and in essence become Roentgen's most immediate successor. Hacker, who himself went on to supply many of the Prussian Royal palaces with furniture, appears not to be the likely maker of the present lot however Johann Georg Stein and Johannes Andreas Beo, who both trained under and worked for the former, are indeed possible candidates. Stein and Beo, who evidently inherited Hacker's predilection for the working method and aesthetics originally developed by Roentgen, each executed a practically identical model of 'Schreibschrank', which in turn closely relate to the offered example, A. Stiegel, Berliner Mobelkunst, 2003, Berlin, fig.'s 28-9, p. 95. All three of these have characteristics in common including the use of brilliant mechanisms, a la Roentgen, such as concealed drawers and compartments stored within separate central architectural units. In an inventory of the Charlottenburg Palace undertaken in 1800, the secretaire by Stein is documented as being housed in the private dressing room of Empress Louise (1776-1810), wife of Friedrich III. While the Beo version, which seems to have once enclosed an impressive clock mechanism (in direct continuance of the tradition of Roentgen) remains for now at the Getty Museum (84.DA.87).As well as helping Hacker to establish himself, it appears that Roentgen also assisted Johann Cristian Harder, another cabinet maker who had worked for the former, to also found his own firm in Brunswick in circa 1800. Harder even calls it the Braunschweigische Priviligierte Kunst-Meuble-Fabrik von Neuwied in honour of Roentgen. Constructed following the same stock design as the three aforementioned secretaires, Harder's comparable model, in the collection at the Kunstgewerbemuseum in Berlin, is even more impressive in terms of the extremely complicated and ingenious mechanisms stored within it. And as a result this particular variant features, analysed in meticulous detail, in W. Koeppe, Extravagant Inventions, The Princely Furniture of the Roentgens, 2012, New York, app.'s 3.1-3.15, p. 234.Ultimately the difficulty in attributing the above lot to any of the previously referenced makers - Hacker, Stein, Beo or Harder - proves the immense consistency and cross fertilisation in terms of ideas, innovations and artistry among these Prussian cabinet makers during this period. However one common thread uniting all of them is clearly the enormous and understandably all-pervasive influence of David Roentgen.This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Set of six lead crystal hock glasses, hob nail decoration on hexagonal tapering stem and other part suites of table glassware, green glazed art pottery jug decorated with two cockerels and modern Oriental blue and white vase decorated with landscapes (2 boxes)

[BARKER (THOMAS)]The Country-mans Recreation, or the Art of Planting, Grassing, and Gardening in Three Books... Hereunto is Likewise Added the Art of Angling, second edition, 22 full-page woodcut illustrations, approximately 12 leaves browned, occasional spotting, modern blindstamped morocco, upper joint weakened [ESTC R207486 48; Westwood & Satchell pp.66-67], small 4to, T. Mabb, for William Shears, 1654Footnotes:Scarce complete copy of Barker's treatise on garden horticulture, including the important fourth part, a pre-Waltonian section devoted to angling. Barker, who made a living as an angling tutor, suggested that 'fishing far surpasses all other recreations in promoting health and pleasure. The text offers much hard practical advice on fish species, tackle and bait, together with recipes, including pike with stewed oysters, and employs a successful formula for angling writing which has been much copied subsequently' (ODNB).Provenance: R. Mostyn, early ownership inscription on title; A.J. Jarvis, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

BLACKER (WILLIAM)Art of Flymaking, &c., Comprising Angling & Dyeing of Colours... With Descriptions of Flies for the Season of the Year... Rewritten and Revised by the Author, 'third edition', engraved title, 21 engraved plates (18 hand-coloured), contemporary black morocco gilt, with binder's ticket ('A. Chatelin, 8 Church St., Soho'), rebacked preserving original spine [Westwood & Satchell pp.32-33], 12mo, the Author, 1855--A Concise but Comprehensive Treatise on the Art of Angling, hand-coloured woodcut frontispiece, toning to opening and final leaves, modern half morocco, gilt morocco spine label [Westwood & Satchell p.110], 8vo, Lewes, Sussex Press, by J. Banter, 1809 (2)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

FLYFISHER'S CLASSIC LIBRARYBLACKER (WILLIAM) Art of Flymaking, ONE OF FIFTY SPECIALLY BOUND COPIES WITH AN ACTUAL FLAY SPECIMEN, 1994--NEWLAND (HENRY) The Erne, NUMBER 1 OF 45 COPIES, ACTUAL FLY SPECIMEN OF 'JACK THE GIANT KILLER', 1999, the specimen mounted inside upper cover--DAVIS (EDMUND W.) Salmon-fishing on the Grand Cascapedia, LIMITED TO 950 COPIES, 2001--CHALMERS (PATRICK R.) At the Tail of the Weir, NUMBER 1 OF 150 COPIES, 2003--GOODSPEED (CHARLES ELIOT) Angling in America, LIMITED TO 500 COPIES, 1996--MARINARO (VINCENT) A Modern Dry-Fly, LIMITED TO 500 COPIES, 1996--KELSON (GEORGE) Tips, LIMITED TO 150 COPIES, 2003--SKUES (G.E.M.) Side-Lines, Side-Lights & Reflections, LIMITED TO 500 COPIES, 1996--HILLS (JOHN WALLER) A Summer on the Test, LIMITED TO 500 COPIES, 1996--SAWYER (FRANK) The Frank Sawyer Omnibus, LIMITED TO 450 COPIES, 1997--PRYCE-TANNATT (T.E.) How to Dress Salmon Flies, LIMITED TO 500 COPIES, 1997--HENDERSON (WILLIAM) My Life as an Angler, LIMITED TO 750 COPIES, 2001--FARSON (NEGLEY) Going Fishing, LIMITED TO 600 COPIES, 1993--SWIFT (JEREMY) Arthur Ransome on Fishing, LIMITED TO 250 COPIES, 1994, plates, publisher's mock-morocco gilt, slipcases (first mentioned sprinkled with white paint on top edge), large 8vo, The Flyfisher's Classic Library; and 25 others, Flyfisher's Classic library, including titles by Kelson, Pritt, Scropes, Hills, Plunkett-Greene, Hardy, Barker, O'Gorman, Skues, Mottram, Sheringham, Stewart, and Walbran, in slipcases (40)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

WHITTOCK (NATHANIEL)The Art of Drawing and Colouring from Nature, Flowers, Fruit and Shells... Also, the New Method of Oriental Tinting, 24 lithographed plates, each in 2 states (hand-coloured and uncoloured), title cut to size and laid down, contents leaf and one text leaf with short repairs, some spotting, modern half calf, Isaac Taylor, 1829--BURNET (JOHN) A Practical Treatise on Painting. In Three Parts, 25 engraved plates (8 hand-coloured), contemporary green half morocco, J. Carpenter, 1828--PARSEY (ARTHUR) Perspective Rectified; or, the Principles and Application Demonstrated, AUTHOR'S PRESENTATION COPY TO HIS SON, inscribed 'Master Willm. Parsey, the gift of his father 1840', 16 engraved plates, publisher's cloth, printed label on upper cover, Longman, 1836, 4to--TINGRY (PIERRE FRANCOIS) The Painter and Varnisher's Guide... Corrected and Improved, by a Practical Chemist, second edition, 2 engraved plates (one folding), folding letterpress table, occasional spotting and browning, untrimmed in original grey boards, printed label on spine, rubbed upper cover detached, 8vo, Sherwood, Neely, and Jones, 1816; and another (5)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

JOURNAL OF INDIAN ARTKIPLING (JOHN LOCKWOOD, editor) The Journal of Indian Art, vol. 1-3 only (comprising Nos. 1-36, lacking nos. 4 and 9), texts by Kipling, T.H. Hendley, G. Birdwood, and others, approximately 432 chromolithographed, photographic, and photo-lithographed plates (including many by artists from the Mayo School of Art, Lahore after Kipling), without parts wrappers, the title and list of plates in volume 2, W. Griggs, 1886-1890--HENDLEY (THOMAS H.) Indian Jewellery [parts 95-107 of 'The Journal of Indian Art and Industry'], facsimile edition, 167 plates (many colour), original parts wrappers bound in, W. Griggs, and Bernard Quaritch, 1906-1909 [but later], uniformly bound in modern half morocco, gilt lettered 'Indian Art, Vol. 1[-4] on spines, folio (360 x 255mm.); and 3 others, extracted articles from 'The Journal of Indian Art', including T.H. Hendley on Indian museums, and F.H. Andrews on Indian carpets and rugs, plates, early half cloth, gilt lettered on spines, a few tears to spines, sold as periodicals (7)Footnotes:The Journal of Indian Art was founded and edited by John Lockwood Kipling, founding Principal of the Mayo School of Art in Lahore, to forward his ambitions to elevate the status of traditional Indian arts, crafts, architecture and design in Britain. He contributed many of the articles, focusing on Punjabi arts, as well as illustrations (executed by his Indian pupils). Another prolific contributor was Thomas Holbein Hendley, whose Indian Jewellery was a pioneering and influential treatise on the subject.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's 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.

* Sutherland (Graham, 1903-1980, after). Portrait of Sir Winston Churchill, circa 1970s, full-length oil on canvas portrait of Winston Churchill seated, some cracking and flaking of paint surface, 96.5 x 77.5 cm, indistinct West Dulwich artist details written in ink to verso, together with a similar portrait of Churchill after the Sutherland portrait, rendered in coloured chalks on wove, 76 x 61 cm, framed and glazedQty: (2)NOTESProvenance: From the Winston Churchill Collection of Major Alan Taylor-Smith (1928-2019). In 1954 Graham Sutherland was commissioned to paint a full-length portrait of Prime Minister Sir Winston Churchill of the United Kingdom. Sutherland received 1,000 guineas for the painting, a sum funded by donations from members of the House of Commons and House of Lords. The painting was presented to Churchill by both Houses of Parliament at a public ceremony in Westminster Hall on his 80th birthday on 30 November 1954. The painting was intended to hang in the Houses of Parliament after Churchill's death, but after the public presentation, it was instead given as a personal gift to Churchill himself, who took it to Chartwell and refused to display it as he found the portrait deeply unflattering. After the death of Lady Spencer-Churchill in 1977, it came to light the following year that she had destroyed the painting within a year of its arrival at Chartwell, by breaking it into pieces and having them incinerated to prevent it from causing further distress to her husband. She had hidden the Sutherland portrait in the cellars at Chartwell and employed her private secretary Grace Hamblin and Hamblin's brother to remove it in the middle of the night and burn it in a remote location. Many commentators were aghast at the destruction of the work of art, and Sutherland condemned it as an act of vandalism; others upheld the Churchills' right to dispose of their property as they saw fit. Lady Spencer-Churchill had previously destroyed other portraits of her husband that she disliked, including sketches by Walter Sickert and Paul Maze. An episode of the Netflix series The Crown refers to the occasion of the public presentation to Churchill, in which Churchill wryly joked (as John Lithgow’s version did in The Crown), that the portrait was “a remarkable example of modern art.” The comment was not meant as a compliment.

A unique and important dated 17th century lantern clock of large size, engraved with the arms of The Brewers CompanyWilliam Bowyer, London, dated 1632. The bell cast with the initials 'KS'The case:15.5 inches high to the top of the reduced finial, and surmounted by a substantial strapped bell (the bell cast internally with the letters KS), over three pierced frets (cast to accommodate the bases of the finials and measuring 91 x 144mm), each centred by a shield and framed by foliate scrolls, the front central shield engraved with the coat of arms of the Brewers Company above the signature WILLIAM BOWYER OF LONDon FECIT (sic), the square top plate with original holes for the balance control and with a hoop to the rear, with four boldly cast squat urn finials on tapering Doric columns over bulbous turned feet. (doors and rear plate lacking, rear left hand finial smaller) The dial:the silvered chapter ring 1 and 1/16th of an inch in width, with double line border enclosing the Roman numerals and inner quarter hour track with star half-hour markers raised on single lines, the corners with foliate scrolls, the centre fully engraved and divided into diagonal quarters by pairs of sword-shaped leaves, the upper quarter with the date 1632 below a human face surrounded by petals, the lower quarter with another male face with leaves as hair, framed by largely symmetrical patterns of leaves, with single filed iron handThe movement:the weight driven movement (two modern weights accompany the clock) with later verge escapement, the crown wheel set on a shaped brass top potance, the pallet arbor cocked front and back and with forked crutch (displaying some decorative filing) , but missing the pendulum, the strike train dictated via a pierced brass countwheel with three crossings, the heavy iron hammer with substantial stop and altered spring 39cms (15.5ins) high. Footnotes:William Bowyer is one of the great early British clockmakers and we have been fortunate enough to present several important examples in recent years, including: The so called 'Masterpiece' clock dated 1623, lot 72, 19th June 2007 £144,000. His earliest known clock, dated 1617, lot 60, 11th June 2018, £43,750. The clock he sold to John Earle of Rothes circa 1626, lot 68, 11th December 2019, £43,800. Literature: This clock is discussed and illustrated in an article by John Hooper 'William Bowyer Great Clock Maker', published in Antiquarian Horology, Summer 1998, p.122-133. 'His standard of workmanship, design and execution was exemplary throughout his working life.....His clock frames were splendidly turned and assembled and the dials beautifully engraved, especially on his early clocks....The movements of his clocks are of an equal standard of workmanship and the finishing of his wheels and pinions generally of an excellence rarely approached by other makers of his era. The tempering of his steelwork is invariably good and the wear on his pinions minimal considering the great age of his clocks and the survivors are, as a rule, still in good working order if suitably looked after.' There are no records as yet of the bell founder 'K.S', although another Bowyer clock is recorded in White with a bell cast with the initials 'G.S'The Worshipful Company of BrewersThe Worshipful Company of Brewers is one of the oldest of London's livery companies with references as far back as the 13th century. The first Royal Charter was granted by Henry VI in 1438 and the first Coat of Arms in 1468, these were the arms of Saint Thomas Becket, the Company's patron Saint. The Arms were changed to the present sheaves of barley and barrels, after the reformation, by Royal grant in 1544.Initial inspection of the Court Minutes and Accounts book has not yet revealed a reference to this wonderful clock - like today, this would have been an object of enormous rarity and value in the early 17th century, and it is quite possible that it was presented to the Company by a member as a gift - just as Bowyer himself had presented a clock to the Clockmakers Company. The Masters of the Brewers Company at around this time were Samuel Cranmer (1575-1640) from Cripplegate in 1631 and Francis Zachary, of Stepney in 1632.Andrew King writes:WILLIAM BOWYERGREAT CHAMBER CLOCK MAKERWith the more regular appearance of domestic clocks in the inventories from the earlier years of the sixteenth century, almost exclusively the work of Continental makers, the clock making trade in England may have been established in that century if it had not been for the successive plagues that took their toll of so many craftsmen. These human disasters led to a revived clock making trade which became established in the beginning of the seventeenth century learning their trade from previous sources as well as turret clock work, locksmithing and the art of the blacksmith. Within that first decade of the seventeenth century the tradition of the English lantern clock emerged. Of all the notable clockmakers from what has now become known as The first Period of lantern clock making, 1580-1640, William Bowyer remains one of the leading lights with his voluminous output of fine crafted clocks. Bowyer, probably born in the 1590s, in Berkshire and avoiding the contagion of plague married and possibly with his second wife Prudence produced six children with only three surviving infancy. Bowyer became a member of the Pewterer 's Livery Company, becoming a Freeman of the City of London in 1630, this, sometime before the Worshipful Company of Clockmakers received their Royal Charter in 1631. Establishing himself in Leadenhall Street Bowyer took at least six apprentices during his early years and another four some years later from 1638 through the Clockmakers Company. This providing only the smallest indication of the considerable workforce that must have existed in the Leadenhall Street manufactory not too far away from Lothbury the busiest area of lantern clockmaking with not only the Hall of the Founders Company but also the necessary foundries themselves for the adjacent trade.With the formation of the Clockmakers Company William Bowyer appeared to be a somewhat reluctant and not fully committed member in their ranks. His name first appeared in 1632 when he was sent with a small committee 'to treat to the Blacksmiths about their business' but the following year he was in trouble for failing to attend the Court despite warnings. Nine years later in 1642 Bowyer presented the Company with a great chamber clock, the purpose to absolve himself of all Company responsibilities, 'Mr Bowyer to be exempt from place, office and service'. With possibly a somewhat unpredictable and recalcitrant character he nevertheless, became Assistant in 1651 and was elected a Warden in 1653, the year in which it is believed he may have died.William Bowyer's lantern clocks are always notably varied and impressive with unique art and innovation in both styling and mechanical versatility.The dials of Bowyer's clocks are a unique cornucopia of flowers, fruit, swirling leaves and comical masks much of this witness from the world of silversmithing, needlework and the publications of craft and design. This unique artwork suggesting that perhaps Bowyer employed a full time engraver. It would certainly appear that with the output of this manufactory any engraver would have been very busy. The adjacent frets a reflective artwork perhaps with a central urn of flowers and leaves flowing to form the outer region of the fret and sometimes incorporating an owl or even a boar's head. These frets were considered to be such an important feature that Bowyer is cast them to accommodate the bases of the finials, a unique feature. An unusual feature of some of Bowyer's chapter rings and surely another unique feature to him, are the quart... For further information on this lot please visit Bonhams.com

NO RESERVE Modern Illustrated and Art.- Darras (Pierre) Spiritualité de Paris, number 93 of 150 copies, signed by the artist, 15 aquatint plates (1 sepia) and 5 aquatint illustrations by Omer Bouchery, loose in original pictorial wrappers, in turn loose in original cloth-backed pictorial board portfolio, Paris, Henri Colas & Émile Raoust, 1941 § Maerterlinck (Maurice) Le Massacre des Innocents, one of 250 copies on Japon, in an edition of 341 copies, illustrations, some full-page by Antoine Carte, original printed wrappers, short split in spine, board slip-case, Brussels, Les Éditions L & M, 1929; and a small quantity of others, most French Modern Illustrated or Art, v.s. (Sm.Qty.)

Food & Drink.- Marshall (Agnes B.) The Book of Ices, fourth edition, 4 chromolithographed plates, tissue guards, wood-engraved illustrations, 4pp. advertisements at end, very slight water-staining to outer margin of plates, original cloth, [Bitting p.310], [1880s] § [Skuse (E.)] The Confectioners' Hand-book and Practical Guide to the Art of Sugar Boiling, third edition, wood-engraved title-vignette and illustrations, 30pp. author's price list and advertisements at end, title browned, ink names to front free endpaper, original cloth' [Bitting p.437; cf.Cagle 993, third edition], [1880s] § [Rundell (Maria)] New System of Domestic Cookery...By a Lady, engraved frontispiece and additional vignette title, a little browned and stained, a few leaves defective at lower corner affecting final line, modern morocco-backed cloth, spine gilt, 1857; and a bundle of 28 printed wrapping sheets for Folley & Sons High Grade Coffee c.1920, v.s. (a bundle)

Eliot Hodgkin (British, 1905-1987)Olives in a Glass Jar signed and dated 'Hodgkin 6 ii 63' (lower left)oil on board18 x 15cm (7 1/16 x 5 7/8in).Footnotes:ProvenanceWith Roland, Browse & Delbanco, LondonSale; Sotheby's, New York, 21 June 2006, lot 442 Private Collection, GermanyExhibitedLondon, Leicester Galleries, A New Year Exhibition of Paintings, Drawings and Sculptures by 19th and 20th Century Artists, 5 January-30 January 1965, no. 23We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, Montpelier Street, Knightsbridge, London, SW7 1HH, or email britart@bonhams.comThis 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

Mary Fedden R.A. (British, 1915-2012)Sunset in Tuscany signed 'Fedden.' (lower left)gouache on paper35.5 x 25cm (14 x 9 13/16in).Painted in 1965Footnotes:ProvenanceWith New Art Centre, LondonWith Gray Modern and Contemporary Art, Bath, 16 June 2015, where acquired byKeith William SleemanThis 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

Bil Donovan (born 1953)At the Plaza signed 'DONOVAN' (lower centre)watercolour and crayon on paper36 x 32cm (14 3/16 x 12 5/8in).together with a further watercolour painting, Zuhair Murad, by the same hand(2)Footnotes:ProvenanceWith Gray Modern and Contemporary Art, Bath, 14 September 2016, where acquired by Keith William SleemanThis 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

William Gear R.A. (British, 1915-1997)Green Vertical signed and twice dated 'Gear '61 MAY '61' (lower right)acrylic and ink on paper69.5 x 51cm (27 3/8 x 20 1/16in).Footnotes:ProvenanceWith Gray Modern and Contemporary Art, Bath, 22 June 2013, where acquired byKeith William SleemanThis 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

A modern cast bronze figure in the Art Deco taste, inscribed "Bronze Garnti Paris J.B Deposee" on a granite base, 41 cm high

An Art Deco diamond encrusted cocktail bracelet watch, the baguette and modern round brilliant cut stones ranging from approx. 0.02ct to 0.11ct, total approx. wt. 4.21ct, crafted in white metal, unmarked, gross wt. 32.70g, bracelet length 18.5cm. Condition - no damage/repair to bracelet, general wear including scratches and minor wear, watch not currently running,

An Art Deco style flower cluster ring, millegrain setting with central modern round brilliant cut stone weighing approx. 0.20 carats, band marked '750' with import marks, gross wt. 4.79g, size I.

Books - Oriental Art - Toda (Kenji), Japanese Scroll Painting, The University of Chicago Press, 1935, colour plates, contemporary cloth gilt, 8vo, (1); Fink (Romy), A Short Introduction to Japanese Art, London: 1954, h/b, d/j, 8vo, (1); Moa; Enjoying Illustrated Scrolls, The Museum of the Imperial Collections exhibition catalogue, illustrated; Korean architectural photography, including Jim Jae Kyeong, others signed, etc; Bernard Leach; Modern British printmaking, various; etc., [1 box]

COLLECTION OF FAIRLY MODERN ART DECO STYLE CUT GLASS AND ENCRUSTED SCENT BOTTLES

A box with approximately 148 shipping cards either loose or in plastic sleeves. Around 142 are standard size cards with the others modern - the latter including a nice stamped repro of Titanic. This interesting lot is generally in good condition and contains a few old sailing vessels. The cards photographed include the RMS Lusitania - the British ocean liner sunk in 1915 by a German U-boat off Ireland, killing 1,198 passengers and crew; the RMS Oceanic in Graving Dock at Liverpool; two real photographic cards of the P&O Liner Stratheden; Latchford Locks Ship Canal; Captain Scott's 'Discovery'; sectional views of Cunard's RMS Aquitania; and the launch of the Queen Mary at Clydebank in 1934. The other cards are a mix of photographic, art and printed, and feature various shipping lines such as Orient, P&O, Cunard, Canadian Pacific, with a good selection of White Star. The publishers include Valentine, Kingsway, Salmon, FGO Stuart, Hoffman of Southampton, and a Photochrom of the Cutty Sark at sea at Falmouth. Some of the cards are internal views of the liners. A number are postally used.

Bronzegürtel mit Punzdekor. Neuzeitliches Pasticcio. L ca. 80cm. Große Gürtelschnalle montiert auf einem langes Bronzeblech, auf dem abwechselnd ornamentale Felder und Jagsdszenen in sasanidischer Art punziert sind. A bronze belt consisting of a belt buckle and a long bronze sheet metal with punched decor of geometric squares between hunting scenes in sasanian manner. Modern pasticcio.VERKAUFT WIE BESEHEN, KEINE RÜCKGABE! / SOLD AS VIEWED, NO RETURN! Provenienz: Ex Shlomo Moussaieff Collection, 1948-2000. Exportiert mit der Ausfuhrgenehmigung der Israelischen Antikenbehörde. ● Ware in Vorübergehender Verwendung / Subject to temporary admission

Fragment einer attischen Schale. 510 - 480 v. Chr. B erhalten 25,3cm, ø geschätzt 30cm, ø Tondo 12,6cm. Rotfigurig. Innen ein großer Tondo, darin ein frontal hockender, ithyphallischer Satyr. Mit Zertifikat vom The Art Loss Register und Kopien des Sotheby`s Kataloges! Aus Fragmenten zusammengesetzt mit modernen Ergänzungen. Publiziert: Sotheby`s London, Catalogue of Antiquities 17. Mai 1983, Los 302 mit Taf. 28; Kunst der Antike - Ancient Art. Galerie Günter Puhze Katalog 26, 2012, Nr. 102; Beazley Archive Pottery Database 8647. /p> Ikonographisch vergleichbar sind zum Beispiel eine hockende Mänade auf der Schale Berlin Antikensammlung 3757 (ARV² 404,11; CVA 3 Taf. 125,3.7; Beazley Archive Pottery Database 204391) oder der ithyphallische Satyr auf der Schale Boston, Museum of Fine Arts 10.179 (ARV² 327,110; Beazley Archive Pottery Database 203364). Fragment of a large Attic red-figure cup. 510 - 480 B.C. Inside a tondo with frontal squatting and ithyphallic satyr. Reassembled with few modern areas. With certificate from The Art Loss Register and copies of the Sotheby`s Catalogue! Provenienz: Seit 2002 in Deutschland.

Etruskischer Kelch mit figürlichen Stützen. 625 - 575 v. Chr. H 17,6cm, ø Mündung 16,2cm. Bucchero sottile. Typ Rasmussen 1b. Als Stützen fungieren alternierend zwei Flügelfrauen und zwei hockende Sphingen über einem Ringfuß. Das Kelchinnere mit strahlenfömigen Rippen um einen Omphalos. Mit Zertifikat des The Art Loss Register! Stützen und Ringfuß gebrochen und restauriert, dabei ergänzte Fehlstelle am Ringfuß. Etruscan bucchero goblet with four supports in form of two winged women and two crouching sphinges on a ringfoot. Inside a circle of ribbed rays around an omphalos. 625 - 575 B.C. Supports and foot are broken and restored, one missing part of the foot is modern retouched. With certificate of The Art Loss Register! Provenienz: Aus der süddeutschen Privatsammlung Dr. K., für diese 1989 im Schweizer Handel erworben.

Attische Hydria in der Art des Taleides-Malers. Um 540 v. Chr. H 37,8cm, B mit Henkeln 35,2cm, ø Corpus 29,4cm, ø Mündung 22,4cm, ø Fuß 13,9cm. Schwarzfigurig, Details reichlich in Rot und Weiß ausgeführt. Auf dem Bauch großes Bildfeld, das seitlich von Efeuranken begrenzt wird. Darauf ein bärtiger Mann in reich verziertem Mantel mit Lanze sowie ein Wagenlenker in Quadriga nach rechts. Im Hintergrund ein Hoplit mit Schild und Lanze. Darunter ein Tierfries mit zwei Schwänen und Panthern, in der Mitte eine äsende Hirschkuh. Auf dem Schulterbild zwischen vier Manteljünglingen der Kampf zwischen Herakles und Triton. Mit französischer Exportlizenz und Zertifikat von The Art Loss Register! Aus großen Fragmenten zusammengesetzt, dabei kleine retuschierte Ergänzungen. Publiziert: Kunst der Antike - Ancient Art. Galerie Günter Puhze Katalog 27, 2013, Nr. 87. Vgl. die Wagenfahrtszene auf der Hydria Museum of Fine Arts Boston 68.105 (CVA 2 Taf. 73,1-3; Beazley Addenda² 392; Beazley Archive Pottery Database 74) oder den Tierfries auf der Hydria Museum of Fine Arts Boston 99.522 (CVA 2 Taf. 76,1-3; Beazley Archive Pottery Database 72). Attic black-figure hydria, manner of the Taleides Painter. About 540 B.C. On the corpus chariot with warriors, on the shoulder Herakles struggling with Triton. Reassembled from large fragments with few small retouched modern areas. With French Export License and Certificate from The Art Loss Register! Since 2012 in Germany! Provenienz: Seit 2012 in Deutschland; erworben zwischen 1900 und 1920 für eine französische Sammlung, danach in Familienbesitz.

Kleiner Kopf des Buddha oder eines Bodhisattva. Gandhara Region, ca. 5. - 7. Jh. n. Chr. H (ohne Sockel) 13,5cm. Stucco. Feines, rundliches Gesicht; mit Ushnisha und langen Ohrläppchen. Besonders ist das Haar, das aus separat gefertigten und befestigten Muschel- und Schnecken-förmigen Locken besteht. Späte Periode! Haarlocken teilweise abgebrochen, rechtes Ohr u. Kinn beschädigt, im Hinterkopf modern gesichert, mit Ständer. Vgl. D. Jongeward, Buddhist Art of Gandhara in the Ashmolean Museum, s. 141, 111 (EA1993.387). Small stucco head of Buddha or a Bodhisattva. Fine, plump face, with long earlobes and ushnisha. Rare are the crescent- and snail-shell-like curls, manufactured and attached separately to the head. Gandhara region, around 5th - 7th century AD. Late period! Hair curls partially broken off, right ear and chin damaged, back of the head repaired and secured, with a stand. Provenienz: Ex Sammlung K. G., Rheinland, erworben im deutschen Kunsthandel 1960er Jahre bis 2003.

A rare Staffordshire Table-base group of 'Polito's Menagerie', circa 1830-35The handsome six-panelled door amply lit by three lanterns, surmounted by a brightly coloured banner unfolded to reveal an elephant with a castellated howdah, perhaps representing Chunee, surrounded by exotic animals including a lion an a tiger, inscribed 'POLITOS ROYAL MENAGERIE OF THE WONDERFULL BURDS AND BEASTS FROM MOST PARTS OF THE WORLD: LION & C.', a group of various figures and musicians set before the entrance including a man playing a barrel organ, a drummer and three bugle players, the doorkeeper with her hands in a muff, a flight of steps leading down from the six-footed rectangular table base, 33.5cm highFootnotes:ProvenanceExhibited by Jonathan Horne, English Pottery and Related Works of Art 2004, no.32James and Timmey Challenger Collection, ChicagoThis important menagerie is the most elaborate and arguably most celebrated of the early 19th century Staffordshire figure groups. It represents a culmination in the quality and development of Staffordshire pottery before focus moved towards the production of simpler and more rudimentary flatback figures.Menageries were popular in England from the late 18th century and enabled exotic animals to be seen by the public for the first time. By the 1830s these shows began to evolve into what we now know as a circus, with the addition of animal tamers' tricks, brass bands and performers. Stephen Polito owned one of the earliest and most celebrated travelling menageries, described in the 28 September 1805 edition of the Nottingham Journal as a '...grand and pleasing assemblage of most rare and beautiful living beasts, from the remotest parts of the known world...'.In 1810 he bought the permanent menagerie located on the second floor of the Exeter Exchange in the Strand, London, originally established by the self-styled 'Modern Noah' Gilbert Pidcock, which Polito restyled the 'Royal Menagerie'. Polito died in April 1814 but his family continued to tour and exhibit animals under his name throughout the 1820s and 1830s, mostly abroad. In 1835 or 1836 it was lost at sea on its way to Ireland, see Edward Henry Bostock, Menageries, Circuses and Theatres (1928), pp.7-9.The banner may show the elephant Chunee, Pidcock's star attraction, which was admired by Lord Byron but which killed his keeper and was destroyed in 1826. It has been suggested that the female figure at the door may represent Mrs Polito. Table-base groups are traditionally associated with the Burslem potter Obadiah Sherratt, but in the absence of any marked examples caution is needed in ascribing these pieces to a named maker; indeed, a number of different versions of 'Polito's Menagerie' exist, suggesting that these menageries were made by more than one potter, or the moulds shared between potteries or acquired from the same source.Similar versions to the present lot are in the Victoria and Albert Museum (accession no. C.128-2003) and the Fitzwilliam Museum (accession no. C.965-1928). Another from the Hope McCormick Collection was sold by Christie's in New York on 21 January 2003, lot 17. See also that sold by Sotheby's in New York on 26 October 2002, lot 1531. Smaller and less elaborate versions were also produced, examples of which have been sold by Sotheby's in New York on 26 September 1998, lot 233 and 6 October 2006, lot 227 and by Sotheby's in London on 30 October 2018, lot 70.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

Robert Indiana (1928-2018)The Book of Love The complete set of 12 screenprints in colours and 12 poems with embossing, 1996, on A.N.W. Crestwood Museum paper, each screenprint signed, dated and numbered 17/200 in pencil, each poem initialled and dated in pencil, signed by the publisher and numbered 17/200 on the title/justification page, printed by Freeman Burks, published by American Image Editions, New York, loose (as issued) within the original brown paper-covered portfolio with printed title and pencil numbering on the frontEach sheet 606 x 508mm. (23 7/8 x 20in.);Portfolio 610 x 510mm. (24 x 20 1/16in.)Footnotes:Robert Indiana was one of the key figures of the Pop Art movement in America, acclaimed for his simple striking images, vivid use of colour and works employing words and numbers and best known for his iconic LOVE image. This was produced in a series of prints, paintings, sculptures and even stamps, which quickly pervaded popular consciousness in the 1960s and became one of the most recognizable images of Post-war art.A self-proclaimed 'American painter of signs', Indiana was inspired by the images of his Midwestern childhood, using the everyday symbols of roadside America such as highway road signs, billboards and commercial logos to create a bold, graphic style . Two held a particular resonance for the artist, the 'EAT' sign above the diner where his mother worked and 'PHILLIPS 66', the oil company his father worked for, with its striking red and green logo. Both were to influence his choice of colour and the incorporation of words and numbers into his work. The colours later used for Love were described by Indiana as 'the red and green of that sign against the blue Hoosier sky'.Arriving in New York in 1954, Indiana subscribed to the Hard-Edge school of painting, which employs sharp lines to separate blocks of colour and experiments with geometric shapes. He met and fell in love with Ellsworth Kelly who was an exponent of this technique and was a major influence on Indiana. Kelly's painting Red Blue Green (1963) is believed to be the partial inspiration for the Love colour palette.The first appearance of LOVE was a 1961 painting, 4-Star Love, in which four stars are stacked above the word 'Love', which would provide the inspiration for stacking the letters in the subsequent images. The next incarnation was the 1964 painting, Love Is God, inspired by the inscription 'God is Love' seen in the Christian Science churches he had attended with his mother. In 1964 the Museum of Modern Art in New York commissioned Indiana to design its Christmas card. Inspired by his paintings, he chose the word LOVE, with the LO and VE stacked on top of one another to fit the square format of the card and slanted the 'O' to create extra visual interest and kept to minimal vibrant colours. It symbolized the timeless and universal emotions of affection, hope and optimism. For Indiana, the image carried a Christian message of brotherly love, but on a personal level, it was also an expression of his love for Ellsworth Kelly.The Book of Love Portfolio was the culmination of decades of work devoted to this subject, fulfilling the artist's passion for the interplay between words and images. It contains twelve screenprints in diverse colour combinations, which illustrate his twelve poems, written between 1958 and 1973. These contemplate the nature of love and forgiveness, and contain the idea of love as a driving force in artistic endeavour.'The LOVE is a concrete poem as far as I'm concerned. Just a one word poem. Love is a noun and a verb and so one must decide what my love is. It's a command, love, and it's a subject, love.' Robert IndianaFor further information on this lot please visit Bonhams.com

Simon Pierse (b.1956) Australian Red Sands watercolour 51 x 70cm. Exhibited: The Museum of Modern Art, Wales, Simon Pierse, Red Sands, Blue Gums.

Simon Pierse (b.1956) Padmasambhava at Thag-Thog, 1997 watercolour 46 x 41cm. Exhibited: The Museum of Modern Art, Wales, Simon Pierse, Red Sands, Blue Gums.

A PAIR OF MODERN STUDIO / ART GLASS CANDLESTICKS, engraved AM 2003, Alisder Malcolm Glass who is based in Stourbridge, together with a similar style tall glass / vase, each having bobbin effect stems flattened off to either side, tallest H 30 cm (3)

Marion St John Webb - seven volumes 'In the Fairies' series published by Modern Art Society and illustrated by Margaret Tarrant

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), THE CLYDE oil on board 38cm x 46cm Framed and under glass Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career.

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), STRATHNAVAR, FROM 'A NIGHT OF ISLANDS' (1991) colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' 75cm x 53cm Mounted, framed and under glass Label verso: Louise Pickering Fine Art, 58 Clapham Common, London. Bio: A noted and established Scottish artist and professor of art, Will Maclean was born in Inverness in 1941. He was a midshipman (1957–59) before attending Gray's School of Art, Aberdeen (1961–65) and then the British School in Rome in 1966 as part of a year on a Gray's Travelling Scholarship. He spent another period of time at sea in 1968 as a ring-net fisherman, which led to a major bursary in 1973 to study ring-net herring fishing. The resulting Ring-Net Project, a body of over 400 drawings, was exhibited at the Third Eye Centre, Glasgow, from where it toured, and in 1986 at the Scottish National Gallery of Modern Art, Edinburgh, where it entered the permanent collection. In 1981 he was appointed lecturer at the Duncan of Jordanstone College of Art and Design, University of Dundee, where he remained for fifteen fruitful years, becoming Professor of Fine Art in 1994 and in 2004-2006, senior research fellow and now emeritus professor. He was elected Royal Scottish Academician in 1991 and in 1997 he designed and as part of the team, won the Scottish Natural Heritage Supreme Award for three Memorial Cairns in Lewis. In 1999 he was awarded an honorary doctorate by the University of St Andrews, winning the Scottish Arts Council Creative Scotland Award in the same year. The British Library and Tate Artists Lives Sound Archive made a valuable recorded interview with him in 2005, the year he was awarded an MBE for services to Education and the Arts. He lives and works in Tayport, Fife with his wife, the artist Marian Leven. Maclean has exhibited widely since 1967. Solo exhibitions have included The Ring-Net, Third Eye Centre, Glasgow and tour (1978); Runkel-Hue-Williams, London (1990); Retrospective Exhibition, Talbot Rice Gallery, Edinburgh and tour (1992) with accompanying monograph Symbols of Survival; a major solo show, Driftworks at Dundee Contemporary Arts, 2001, and exhibitions with Art First, London, since 1994. Another recent exhibition being the 2011 show "Lead and Line" - at Art First's gallery in Eastcastle Street, London W1 In 1999 his exhibition Cardinal Points was hosted by the Museum of North Dakota, Grand Forks, North Dakota USA before touring to Canada to McMaster Museum of Art, Hamilton, Ontario, and Art Gallery of Newfoundland and Labrador, St. Johns. Group exhibitions include Worlds in a Box, Edinburgh City Art Centre and The Whitechapel Gallery, London (1994 95); and Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh (1995) which featured "A Night of Islands", a set of ten etchings published in 1991. A major work was acquired for the new Scottish Parliament building and commissioned sculptures and collaborative works can be seen in Skye, Lewis and elsewhere in Scotland. Recent sculptural commissions include the piece "Waterlines" (commissioned by the University of Aberdeen and installed in the square facing the new library there) and the Suileachan Project on the Isle of Lewis (winner of the The Saltire Arts and Crafts in Architecture Award 2013), both collaborations with Marian Leven. The critic and writer Duncan Macmillan writes in his introduction to the monograph on Maclean - 'Symbols of Survival': Will Maclean is one of the outstanding artists of his generation in Scotland... his art is rooted in his knowledge of the highlands, the Highland people and their history and in his own early associations with sailors and the sea. This makes it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and concerns His work is in public collections including Arts Council of Great Britain; The British Museum; Dundee, Edinburgh, and Glasgow City Art Galleries; Fitzwilliam Museum, Cambridge; Scottish Arts Council; Scottish National Gallery of Modern Art; Royal Scottish Academy of Art & Architecture; McMaster Museum, Canada; Yale Centre for British Art, Newhaven, USA.

* WILLIAM LITTLEJOHN RSA RSW RGI (SCOTTISH 1929 - 2006), FISH AND SEAGULL mixed media on paper, signed and dated '82, further titled verso 51cm x 95cm Mounted, framed and under glass Note: William Littlejohn as born in Arbroath in 1929 and went on to study Fine Art at Dundee College of Art, before becoming Lecturer in and later Head of Fine Art at Gray’s School of Art, Aberdeen. He retired in1991. In 1984 he was awarded a RSA Gillies Award to travel to Japan. William Littlejohn was elected as a member of the Royal Scottish Academy in 1973, the Royal Glasgow Institute in 1989 and the Royal Scottish Society of Painters in Watercolour in 1990. He had numerous one man exhibitions both in Scotland and England and his paintings are in many private and public collections including H.M. The Queen, The Scottish National Gallery of Modern Art, Royal Bank of Scotland and Edinburgh and Aberdeen Universities.

* PHILIP BRAHAM (SCOTTISH b 1959 - ), SILENT PAINTING oil on canvas, signed and dated verso 59cm x 119cm Framed Note: A graduate from Duncan of Jordanstone College of Art and Design, Philip Braham first came to prominence in the 1980s with the rise of figurative painting in Scotland, which culminated in The Vigorous Imagination, an exhibition at the Scottish National Gallery of Modern Art in 1987. His career includes 22 solo exhibitions to date; in addition to numerous group shows both nationally and internationally. Among the awards received are the prestigious Royal Scottish Academy Guthrie Award for painting and the Royal Scottish Academy Morton Award. Recent exhibitions include solo shows at Raab Gallery Berlin, The Scottish Gallery and at the Royal Scottish Academy for the Edinburgh International Festival contribution in 2010. A longstanding interest in continental aesthetics informs his pedagogical role as Course Director for Art, Philosophy and Contemporary Practices at the University of Dundee. Philip Braham is represented by the prestigious Scottish Gallery (Edinburgh) and his next solo show there is scheduled for January 2021.

Modern art print.

Art Deco cocktail watch, c.1930, the case set with diamonds and marked Platinum, with Longines signed manual wind movement, on a modern black cord strap.

Two modern Art Deco figures; a Coalport Collectibles Spellbound, 34cm and Regency Fine Arts Moonlight Dance, 30cm approximately

An Art Deco style open armchair (modern)

Daniel Richter 1962 Eutin - lebt und arbeitet in Berlin Ohne Titel. 2004. Öl auf Leinwand. Verso auf der Leinwand signiert und datiert sowie mit der handschriftlichen Bezeichnung '10/04'. Verso auf dem Keilrahmen und auf dem Rahmen jeweils mit der handschriftlichen Bezeichnung 'DR/K337'. 30 x 40 cm (11,8 x 15,7 in). • Energetisch aufgeladene Bildwelten machen Daniel Richters Kompositionen so magisch. • Figürliche Malerei voll persönlicher Reflexion. • Daniel Richter: Superstar der zeitgenössischen Kunstszene. • Im Entstehungsjahr 2004 übernimmt Daniel Richter die Professur für Malerei an der Universität der Künste in Berlin. • Richters Arbeiten befinden sich in zahlreichen bedeutenden öffentlichen Sammlungen, bspw. in der Hamburger Kunsthalle, im Städel Museum in Frankfurt, im Centre Pompidou in Paris oder im Museum of Modern Art in New York. PROVENIENZ: Contemporary Fine Arts, Berlin (verso auf dem Keilrahmen und auf dem Rahmen mit Etiketten und Stempel). Privatsammlung Rheinland-Pfalz. Privatsammlung Baden-Württemberg (seit 2017). AUSSTELLUNG: Regina Gallery, London & Moskau (verso auf dem Rahmen mit einem Etikett). Daniel Richter - Imitators be there, Galerie Haas, Zürich, 11.12.2009-29.1.2010, Kat. S. 27, m. Abb. Aufrufzeit: 11.12.2020 - ca. 14.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONDaniel Richter 1962 Eutin - lebt und arbeitet in Berlin Ohne Titel. 2004. Oil on canvas. Verso of the canvas signed and dated, as well as with the hand-written inscription '10/04'. Verso of stretcher and frame with hand-written inscription 'DR/K337'. 30 x 40 cm (11.8 x 15.7 in). • Energetically charged visual worlds make Daniel Richter's compositions so magical. • Figurative painting full of personal reflection. • Daniel Richter: Superstar of the contemporary art scene. • In 2004, Daniel Richter took over the professorship for painting at the University of Fine Arts in Berlin. • Richter's works can be found in numerous important public collections, e. g. in the Hamburg Kunsthalle, the Städel Museum in Frankfurt, the Center Pompidou in Paris or the Museum of Modern Art in New York. PROVENANCE: Contemporary Fine Arts, Berlin (verso of stretcher and frame with labels and stamp). Private collection Rhineland-Palatinate. Private collection Baden-Württemberg (since 2017). EXHIBITION: Regina Gallery, London & Moscow (with a label on verso of the frame). Daniel Richter - Imitators be there, Galerie Haas, Zürich, December 11, 2009 - January 29, 2010, cat. p. 27, with illu. Called up: December 11, 2020 - ca. 14.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Maurice de Vlaminck 1876 Paris - 1958 Rueil-la-Gadelière Bouquet devant la fenêtre. 1916. Öl auf Leinwand. Rechts unten signiert. 81 x 60 cm (31,8 x 23,6 in). [CH]. • Seit fast 20 Jahren in süddeutschem Privatbesitz. • Weitere Stillleben des Künstlers befinden sich bspw. im Museum of Modern Art in New York, im Nasjonalmuseet in Oslo, im Ashmolean Museum of Art and Archaeology in Oxford und in der National Gallery of Art in Washington, DC. Mit einer Bestätigung des Wildenstein Institute, Paris, vom 24. November 1994 (in Kopie). Die Arbeit wurde in den in Vorbereitung befindlichen Catalogue Raisonné aufgenommen. PROVENIENZ: Galerie Thomas Salis, Salzburg. Privatsammlung Süddeutschland (2000 vom Vorgenannten erworben). Aufrufzeit: 12.12.2020 - ca. 18.34 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMaurice de Vlaminck 1876 Paris - 1958 Rueil-la-Gadelière Bouquet devant la fenêtre. 1916. Oil on canvas. Signed in lower right. 81 x 60 cm (31.8 x 23.6 in). [CH]. • Part of a Southern German private collection for almost 20 years. • Other still lifes by the artist are in possession of, among others, the Museum of Modern Art in New York, the Nasjonalmuseet in Oslo, the Ashmolean Museum of Art and Archaeology in Oxford and the National Gallery of Art in Washington, DC. Accompanied by a confirmation issued by the Wildenstein Institute, Paris, from November 24, 1994 (in copy). The work will be included into the forthcoming Catalogue Raisonné. PROVENANCE: Galerie Thomas Salis, Salzburg. Private collection Southern Germany (acquired from aforementioned in 2000). Called up: December 12, 2020 - ca. 18.34 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Josef Scharl 1896 München - 1954 New York Konferenz / Die Gruppe. 1927. Öl auf Leinwand. Firmenich/Lukas 94. Rechts unten signiert und datiert. 81 x 65 cm (31,8 x 25,5 in). • Scharls sezierende Gesellschaftsbilder der 1920er Jahre gehören zu den absoluten Höhepunkten seines Schaffens. • Wunderbare Charakterstudie der politischen Gesellschaft der Weimarer Republik. • Mehrfigurige Arbeiten aus dieser Schaffenszeit sind selten und gehören zu den gefragtesten Arbeiten des Künstlers. PROVENIENZ: Galerie Nierendorf, Berlin. Privatsammlung Berlin (bis 2008, Grisebach 29.11.2008). Privatsammlung (seit 2008, Grisebach 29.11.2008). AUSSTELLUNG: Kollektivausstellung Josef Scharl, in den Räumen des Deutschen Künstlerverbandes, München 1929, Kat.-Nr. 13. Josef Scharl. Gedächtnisausstellung, Galerie Nierendorf, Berlin 1964, Abb. S. 16. Magic Realism. Art in Weimar Germany 1919-33, Tate Modern, London, 30.7.2018-14.7.2019, mit Abb. S. 68. LITERATUR: Villa Grisebach, Berlin, Kunst des 19./20. und 21. Jahrhunderts, 29.11.2008, Kat.-Nr. 213, mit Abb. Scharl ist ein Menschenmaler, dessen besondere malerische Qualität sich in seinen starken Charakterporträts entlädt, die immer wieder einfache Arbeiter und Soldaten in ihrer vom Leben oder vom Tod geschundenen Körperlichkeit mit ungeschönter Direktheit zeigen. Vor allem zeigt sich diese aber auch in seinen wunderbaren mehrfigurigen Gesellschaftsgemälden der 1920er Jahre. Im typischen Stil der zwanziger Jahre hat Scharl in 'Konferenz / Die Gruppe' die politischen Charaktere der Weimarer Republik in seinem charakteristischen, von Van Gogh inspirierten bewegten Strich auf die Leinwand gesetzt. Rechts hinten dürfte Stresemann, der Reichskanzler und spätere Reichsminister, zu sehen sein, dessen kahlköpfige Physiognomie Scharl in meisterhaft überzeichneter Manier malerisch umgesetzt hat. Wenn auch weniger karikaturistisch angelegt, so ist unsere starke Charakterstudie doch mit den zeitgleichen Schöpfungen eines George Grosz vergleichbar, dessen berühmte Darstellung der 'Stützen der Gesellschaft' (1926, Nationalgalerie Berlin) sich in unser kollektives Bildgedächtnis eingegraben hat. Scharls sezierende Gesellschaftsbilder dieser Jahre wie 'Konferenz / Die Gruppe' oder 'Blinder Bettler im Café' (1927, Kunsthalle Emden), 'Drei Korporierte (Larven)' (1925, Lenbachhaus München) gehören zu dem Besten, was Scharls malerisches Werk zu bieten hat. Und so überrascht es nicht weiter, dass die 'Große Gesellschaft (Theaterpause)' (1930) und die von uns 2018 veräußerte Gesellschaftsstudie 'Der Abend' (1925) auf dem internationalen Auktionsmarkt zu den drei Top-Zuschlägen des Künstlers zählen. In den 1920er Jahren ist Scharl auf dem Höhepunkt seines Schaffens, er schließt sich der Künstlervereinigung 'Neue Münchner Sezession' und den 'Juryfreien' an und beteiligt sich erfolgreich an deren Ausstellungen. Mit der beginnenden nationalsozialistischen Kulturpolitik kommt es in den 1930er Jahren bereits zu einer entscheidenden Wende: Verkäufe und Ausstellungsbeteiligungen nehmen ab, die finanzielle Lage Scharls spitzt sich zu und ihm wird ein Malverbot auferlegt. Trotzdem ermöglicht ihm Karl Nierendorf 1935 noch eine Einzelausstellung. Eine Einladung des Museums of Modern Art in New York, gemeinsam mit Beckmann, Scholz, Heckel und Hofer an einer internationalen Ausstellung teilzunehmen, bestärkt Scharls Auswanderungspläne und er emigriert schließlich 1939 nach Amerika. [JS] Aufrufzeit: 11.12.2020 - ca. 19.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJosef Scharl 1896 München - 1954 New York Konferenz / Die Gruppe. 1927. Oil on canvas. Firmenich/Lukas 94. Signed and dated in lower right. 81 x 65 cm (31.8 x 25.5 in). • Scharl's pictures that dissect the society of the 1920s are the absolute highlight of his creation. • Wonderful character study of the political class in the Weimar Republic. • Multi-figure scenes from this period are among his most sought-after works. PROVENANCE: Galerie Nierendorf, Berlin. Privatsammlung Berlin (bis 2008, Grisebach 29.11.2008). Privatsammlung (seit 2008, Grisebach 29.11.2008). EXHIBITION: Kollektivausstellung Josef Scharl, in den Räumen des Deutschen Künstlerverbandes, München 1929, Kat.-Nr. 13. Josef Scharl. Gedächtnisausstellung, Galerie Nierendorf, Berlin 1964, Abb. S. 16. Magic Realism. Art in Weimar Germany 1919-33, Tate Modern, London, 30.7.2018-14.7.2019, mit Abb. S. 68. LITERATURE: Villa Grisebach, Berlin, Kunst des 19./20. und 21. Jahrhunderts, 29.11.2008, Kat.-Nr. 213, mit Abb. Scharl ist ein Menschenmaler, dessen besondere malerische Qualität sich in seinen starken Charakterporträts entlädt, die immer wieder einfache Arbeiter und Soldaten in ihrer vom Leben oder vom Tod geschundenen Körperlichkeit mit ungeschönter Direktheit zeigen. Vor allem zeigt sich diese aber auch in seinen wunderbaren mehrfigurigen Gesellschaftsgemälden der 1920er Jahre. Im typischen Stil der zwanziger Jahre hat Scharl in 'Konferenz / Die Gruppe' die politischen Charaktere der Weimarer Republik in seinem charakteristischen, von van Gogh inspirierten bewegten Strich auf die Leinwand gesetzt. Rechts hinten dürfte Stresemann, der Reichskanzler und spätere Reichsminister, zu sehen sein, dessen kahlköpfige Physiognomie Scharl in meisterhaft überzeichneter Manier malerisch umgesetzt hat. Wenn auch weniger karikaturistisch angelegt, so ist unsere starke Charakterstudie doch mit den zeitgleichen Schöpfungen eines George Grosz vergleichbar, dessen berühmte Darstellung der 'Stützen der Gesellschaft' (1926, Nationalgalerie Berlin) sich in unser kollektives Bildgedächtnis eingegraben hat. Scharls sezierende Gesellschaftsbilder dieser Jahre wie 'Konferenz / Die Gruppe' oder 'Blinder Bettler im Café' (1927, Kunsthalle Emden), 'Drei Korporierte (Larven)' (1925, Lenbachhaus München) gehören zu dem Besten, was Scharls malerisches Werk zu bieten hat. Und so überrascht es nicht weiter, dass die 'Große Gesellschaft (Theaterpause)' (1930) und die von uns 2018 veräußerte Gesellschaftsstudie 'Der Abend' (1925) auf dem internationalen Auktionsmarkt zu den drei Top-Zuschlägen des Künstlers zählen. In den 1920er Jahren ist Scharl auf dem Höhepunkt seines Schaffens, er schließt sich der Künstlervereinigung 'Neue Münchner Sezession' und den 'Juryfreien' an und beteiligt sich erfolgreich an deren Ausstellungen. Mit der beginnenden nationalsozialistischen Kulturpolitik kommt es in den 1930er Jahren bereits zu einer entscheidenden Wende: Verkäufe und Ausstellungsbeteiligungen nehmen ab, die finanzielle Lage Scharls spitzt sich zu und ihm wird ein Malverbot auferlegt. Trotzdem ermöglicht ihm Karl Nierendorf 1935 noch eine Einzelausstellung. Eine Einladung des Museums of Modern Art in New York, gemeinsam mit Beckmann, Scholz, Heckel und Hofer an einer internationalen Ausstellung teilzunehmen, bestärkt Scharls Auswanderungspläne und er emigriert schließlich 1939 nach Amerika. [JS] Called up: December 11, 2020 - ca. 19.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Leo Putz 1869 Meran - 1940 Meran Ein Sommertag. 1925. Öl auf Leinwand. Putz 855. Links unten signiert und datiert '025'. Auf dem Keilrahmen mit einem Etikett, darauf handschriftlich bezeichnet 'Ein Sommertag Leo Putz 1925 Gauting'. 110 x 120 cm (43,3 x 47,2 in). • Wunderbar leichte und lichterfüllte Szenerie, die Putz’ meisterliche Pleinairmalerei um eine mutigere Farbpalette erweitert. • Virtuoses Spiel mit der kunsthistorisch bedeutenden Tradition der 'Armor und Psyche'-Darstellungen. • Abschließende Version einer kleinen Folge von Gemälden, in denen Putz sein junges Modell Toni gemeinsam mit seinem Sohn Helmut zeigt. • Das ein Jahr später entstandene Gemälde 'Am Bassin', das ebenfalls das Aktmodell Toni zeigt, befindet sich in der Sammlung des Lenbachhauses, München. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatbesitz (um 1974). Privatsammlung Italien (bis 2001, auf dem Keilrahmen mit dem Stempel). Privatsammlung Großbritannien (seit 2001; Ketterer Kunst 1.12.2001). LITERATUR: Ruth Stein, Leo Putz, Wien 1974, Kat.-Nr. 463. Ketterer Kunst, 261. Auktion, Kunst des 20. Jahrhunderts, 1.12.2001, Kat.-Nr. 25, mit Abb. „Die schönsten Beleuchtungen fesseln mich, das sind Beleuchtungen, die sich verschlingen und nur im letzten Augenblick festzuhalten sind. [..] Es sind Farbklänge, die wie ein musikalischer Wohlklang zu einander stimmen müssen [..] sie vereinigen sich zu einem Akkord, in dem es keine Dissonanzen geben darf [..].“ Leo Putz, zit. nach: Ruth Stein, Leo Putz, Wien 1974, S. 39. Wunderbar leicht und lichterfüllt sind gerade Leo Putz’ sommerliche Aktdarstellungen der 1920er Jahre, in denen der impressionistische Duktus der 'Scholle'-Zeit noch um eine leuchtende, expressive Farbpalette bereichert wird. Wie die Farbpalette, so ist auch die Motivik seiner Freiluftmalerei in diesen im Garten und angrenzenden Waldstück seines neuen Gautinger Hauses entstandenen Gemälden deutlich mutiger geworden. Putz zeigt nicht mehr nur den sich ungezwungen in freier Natur bewegenden oder stehenden weiblichen Akt, sondern bietet diesen in 'Ein Sommertag' in erotischer Pose schlafend, geradezu schutzlos vor den Augen des Betrachters dar. Die Spannung der Szenerie wird zudem noch dadurch gesteigert, dass dem schlafenden Modell nicht etwa ein zweiter weiblicher Akt, sondern ein nackter Knabe zur Seite gestellt wird, der seinen wachen Blick geradezu fordernd dem Betrachter entgegenrichtet. All das erinnert an das seit der frühen Neuzeit bekannte Sujet der 'Armor und Psyche'-Darstellungen. Putz hat die traditionsreiche erotische Darstellung in 'Ein Sommertag' jedoch aus ihrem mythologischen Kontext befreit und in ein modernes, von sommerlicher Leichtigkeit und expressiver Farbigkeit erfülltes Sujet übertragen. Die junge Toni ist wohl das liegende Modell, sie hatte dem erfolgreichen Maler bereits im Sommer des Vorjahres in Gauting mehrfach Modell gestanden; und auch Helmut, der damals neunjährige Sohn des Künstlers, wird in der Folgezeit einige Male gemeinsam mit der zarten, dunkelhaarigen Schönheit dargestellt. Unserem 'Sommertag' gehen 1924 die Gemälde bzw. Gemäldestudien 'Toni und Helmut' (Putz 833 und Putz 835) und 'Im Schatten' (Putz 834) voraus. Die spätere Version von 'Toni und Helmut' nimmt die Posen der beiden auf dem weißen Kissen ausgestreckten Akte bereits in kleinem Format vorweg, jedoch hat Putz in unserer abschließenden Version den Blick geweitet und den Hintergrund des großen Formates durch die stark angeschnittenen Bäume, die spiegelnde Oberfläche des Wasserlaufs und den in abendliches Rosé und Gelb getauchten, hoch gesetzten Horizont virtuos erweitert. Wunderbar verbindet 'Ein Sommertag' damit all das, was den besonderen Reiz von Putz’ meisterlicher Pleinairmalerei ausmacht. [JS] Aufrufzeit: 11.12.2020 - ca. 18.08 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLeo Putz 1869 Meran - 1940 Meran Ein Sommertag. 1925. Oil on canvas. Putz 855. Signed and dated '025' in lower left. Verso with a label inscribed 'Ein Sommertag Leo Putz 1925 Gauting'. 110 x 120 cm (43.3 x 47.2 in). • Wonderful airy and light-flooded scene that enriches Putz’s masterly plein-air painting by a bolder palette and more erotic motifs. • Virtuoso play with the art-historically significant depiction of 'Cupid and Psyche'. • Final version of a small series of paintings in which Putz depicts his young model Toni together with his son Helmut. • The painting 'Am Bassin', made a year later and also showing the nude model Toni, is part of the collection of the Lenbachhaus, Munich. PROVENANCE: From the artist's estate. Private collection (around 1974). Private collection Italy (bis 2001). Private collection Great Britain (since 2001; acquired through Ketterer Kunst). LITERATURE: Ruth Stein, Leo Putz, Vienna 1974, cat. no. 463. Ketterer Kunst, 261st auction, 20th Century Art, December 1, 2001, cat. no. 25, with illu. 'The finest illuminations captivate me, engulfing illumnations that can only be captured the very last moment. [..] These color chords have to be coherent like a musical harmony [..] they merge to form a chord free from dissonance [..].“ Leo Putz, quote after: Ruth Stein, Leo Putz, Vienna 1974, p. 39. Leo Putz's summer nude scenes from the 1920s are wonderfully light and suffused with light, the impressionist style of the 'Scholle' era is enriched by a bright, expressive color palette. Like the color palette, the motifs of his plein-air paintings, executed in the garden and adjacent forestof his new house in Gauting,have become significantly bolder. Putz no longer only shows the female nude moving aboutfreely or standing in the open air, but rather presents itsleeping in an erotic pose and almost defenseless in front of the viewer in 'Ein Sommertag“ (A Summer's Day). The subtle erotic tension of the scene is also increased by the fact that the sleeping model is not put to the side of a second female nude, but a naked boy who turns his wakeful gaze towards the viewer in demanding manner. All of this is reminiscent of the subject of 'Armor and Psyche', which has been popular since early modern times. However, Putz liberated the traditional erotic depiction in 'Ein Sommertag' from its mythological context and transferred it to a modern subject filled with summery lightness and expressive colorfulness. The lying model probably is the young Toni who had posedfor the successful painter on several occasionsin Gauting theprevioussummer; and Helmut, the then nine-year-old son of the artist, was portrayed several times with the tender, dark-haired beauty. Our 'Ein Sommertag' was preceded by the works 'Toni und Helmut' (Putz 833 and Putz 835) and 'Im Schatten' (Putz 834) in 1924. The later version of 'Toni und Helmut' anticipatedthe poses of the two nudes stretched out on awhite pillow in a small format, but in our final version Putz has broadened the view and virtuously expanded the background of the large format through the truncatedtrees, the reflections on the water surface and the high horizon bathed in a rosé and yellow evening light. 'Ein Sommertag' wonderfully combines everything that makes for the special appeal of Putz's masterful plein-air painting. [JS] Called up: December 11, 2020 - ca. 18.08 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Renée Sintenis 1888 Glatz/Schlesien - 1965 Berlin Große Daphne. 1930. Bronze mit schwarz-brauner Patina. Berger/Ladwig 117. Buhlmann 68. Unten rechts mit dem Namenszug sowie hinten mit dem Gießerstempel 'H.NOACK BERLIN-FRIEDENAU'. Einer von mindestens 10 bekannten Güssen. Höhe: 145 cm (57 in). Granit-Sockel: 71,5 x 28 x 28 cm (28,2 x 11 x 11 in). Lebzeitguss. Gegossen von der Kunstgießerei Hermann Noack, Berlin-Friedenau (mit dem Gießerstempel). • In der 'Daphne' hat Sintenis ihren schönsten Ausdruck weiblicher Anmut und ein Sinnbild moderner Weiblichkeit geschaffen. • Neben dem Berliner Bären die größte Bronze der Künstlerin. • Lebzeitguss. Erstes Exemplar auf dem internationalen Auktionsmarkt mit dem 'H. Noack Berlin-Friedenau'-Gießerstempel. • Ein weiterer Guss befindet sich in der Sammlung des Museum of Modern Art, New York. • Von den zehn bei Buhlmann 1987 als bekannt gelisteten Exemplaren befinden sich heute mindestens fünf in Museumsbesitz. PROVENIENZ: Sammlung Dr. Ernst Schneider, Düsseldorf (1960). Dr. Ewald Rathke Kunsthandel, Frankfurt a. M. Sammlung Deutsche Bank (1972 vom Vorgenannten erworben). AUSSTELLUNG: (in Auswahl, für alle Güsse) Künstlerinnen, Galerie Flechtheim, Berlin 1931. German art of the twentieth century, Museum of Modern Art, New York, 1957, Kat.-Nr. 172. Symbol und Mythos in der zeitgenössischen Kunst, Akademie der Künste, Berlin, 21.4-19.5.1963, Nr. 82 (unser Guss). 25 Jahre Sammlung Deutsche Bank, Deutsche Guggenheim, Berlin, 30.4.-19.6.2005 (unser Guss). Dialog Skulptur, Kulturspeicher, Würzburg, 20.5.-20.8.2006 (unser Guss). Daphne. Mythos und Metamorphose, Gerhard-Marcks-Haus, Bremen, 22.11.2009-21.2.2010. LITERATUR: (in Auswahl, für alle Güsse) Hanna Kiel, Renée Sintenis, Berlin 1935, Abb. S. 4, 68 und 69, sowie Berlin 1956, Abb. S. 44 und 45. Alfred Barr, Painting and Sculpture in the Museum of Modern Art, New York 1948, Abb. S. 248 und 321, sowie Painting and Sculpture in the Museum of Modern Art 1929-1967, New York 1977, Abb. S. 202 und 589. Hildegard Westhoff-Krummacher, Die Bildwerke seit 1800 im Wallraf-Richartz-Museum und im öffentlichen Besitz der Stadt Köln, Köln 1965, Abb. S. 243. Zwischen Freiheit und Moderne. Die Bildhauerin Renée Sintenis, Kunstforum Ostdeutsche Galerie Regensburg, 12.10.2019-12.1.2020, S. 88-93. Ariane Grigoteit, Ein Jahrhundert. One Century. 100 x Kunst, Frankfurt a. M. 2001, S. 66-67, mit ganzs. Abb. (unser Guss). Man in the Middle, Sammlung Deutsche Bank, Frankfurt a. M. 2002, S. 246, mit ganzs. Abb. (unser Guss). 'Kaum hatte sie solches gebetet, da fällt eine schwere Erlahmung ihr auf die Glieder, die schwellende Brust überzieht sich mit feiner Rinde; es wachsen die Haare zu Blättern, zu Zweigen die Arme; auch die Füße, soeben rasch noch, die hangen in trägen Wurzeln, das Haupt wird Wipfel [..].' Ovid, Metamorphosen, Buch 1, Vers 545-551 Sintenis - Eine weibliche Ausnahmeerscheinung in der Berliner Kunstwelt Renée Sintenis, die gegen den Willen ihrer Eltern Künstlerin wird und ihre Werke bereits 1915 in der Berlin Secession zeigt, ist im Berlin der 1920er und 1930er Jahre eine echte Ausnahmeerscheinung. 1931, ein Jahr nachdem Sintenis die 'Große Daphne' geschaffen hat, wird sie als einzige der wenigen Künstlerinnen ihrer Zeit an die Preußische Akademie der Künste berufen, wo sie bis zu ihrem von den Nationalsozialisten erzwungenen Austritt im Jahr 1934 lehrt. In der 'Daphne' hat Renée Sintenis wohl den schönsten Ausdruck weiblicher Anmut geformt. Renée Sintenis und das Motiv der 'Daphne' Bereits 1917/18 hat sie sich dem Sujet der klassischen Mythologie zugewendet und eine erste, kleine Statuette der 'Daphne' geschaffen. In den Metamorphosen des Ovid ist die spontane Verwandlung der Nymphe Daphne überliefert, die sich auf der Flucht vor dem liebestollen Gott Apoll auf ihr Gebet hin plötzlich in einen Lorbeerbaum verwandelt. Neben Sintenis’ Schöpfung gehört sicherlich die berühmte Marmorstatue Gian Lorenzo Berninis (1622-1625, Rom, Villa Borghese) zu den bekanntesten bildhauerischen Darstellungen dieser Motivik. Während Berninis Statue Apoll und Daphne zeigt, hat Sintenis' sich allein auf Daphne und den Moment ihrer beginnenden Verwandlung fokussiert. Die unaufhaltsam bevorstehende Transformation zeigt sie nur leicht angedeutet mit den eben aus den Fesseln, dem Haar und den Achseln herauswachsenden Blättern. Sintenis Konzentration liegt stärker auf der fragilen Körperlichkeit, welche in der extremen Streckung der Gliedmaßen die Metamorphose bereits vorwegnimmt. Die 'Große Daphne' als Sinnbild der modernen Frau Gerade das starke emanzipatorische Moment, das dieser berühmten Episode der antiken Mythologie innewohnt, das die Ambivalenz aus gelebter Weiblichkeit und dem emanzipatorischen Entzug derselben auf die Spitze treibt, muss Sintenis persönlich besonders angesprochen haben. Sie verkörpert sowohl durch ihre androgyne Erscheinung, ihre große, schlanke Gestalt und das kurze Haar als auch durch ihre emanzipierte Lebensweise auf hervorragende Art und Weise den Typus der neuen, selbstbewussten Frau der 'Wilden Zwanziger'. Und so überrascht es nicht, dass Sintenis nach dem überraschenden Tod ihres Ehemannes Emil Rudolph Weiß im Jahr 1945 den damals außerordentlich mutigen Schritt wagte, mit ihrer Lebenspartnerin Magdalena Goldmann zusammenzuziehen. Sintenis hat sich in ihrer 'Großen Daphne' einer traditionellen mythologischen Motivik bedient und durch die Isolation der sich verwandelnden Daphne ein äußerst anmutiges Sinnbild der modernen Frau, des Aufbruchs in ein modernes, selbstbestimmtes Leben geschaffen. [JS] Aufrufzeit: 11.12.2020 - ca. 17.01 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Sertigtal im Winter. Um 1924/25. Aquarell über Bleistift. Rechts unten signiert. Auf festem, chamoisfarbenem Papier. 49,5 x 33,2 cm (19,4 x 13 in), blattgroß. • Faszinierende Komposition, die Kirchners zeichnerische und koloristische Meisterschaft belegt. • In der Einsamkeit von Kirchners letztem Rückzugsort, dem 'Haus am Wildboden', im Sertigtal bei Davos entstanden, wo Kirchner 1938 den Freitod wählt. • 1924 entstehen der motivisch sehr ähnliche und seltene Holzschnitt 'Sertigstrasse im Winter' sowie das Gemälde 'Sertigweg im Sommer'. • Bereits in den 1940er Jahren in der Buchholz Gallery, New York, ausgestellt und dann in der Sammlung von Richard S. Davis, dem späteren Kurator des Minneapolis Institute of Art. • Seit den 1990er Jahren regelmäßig auf musealen Kirchner-Ausstellungen vertreten. • Seit 1977 Teil einer norddeutschen Privatsammlung und seither erstmals auf dem internationalen Auktionsmarkt. Dieses Werk ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern dokumentiert. PROVENIENZ: Buchholz Gallery, New York (1937, auf der Rahmenrückpappe mit dem Etikett). Sammlung Richard S. Davis, USA (um 1945; wohl vom Vorgenannten erworben). Valentin Gallery, New York (nach 1951, auf der Rahmenrückpappe mit dem Etikett). Wohl Privatsammlung Süddeutschland (vor 1956 bis 1977). Privatsammlung Norddeutschland (seit 1977, Galerie Wolfgang Ketterer, 24.5.1977). AUSSTELLUNG: Fogg Art Museum, Cambridge (wohl um 1945; Leihgabe aus der Sammlung Richard S. Davis (auf der Rahmenrückpappe mit dem Etikett)). The Institute of Modern Art, Boston (heute: The Institute of Contemporary Art, Leihgabe aus der Sammlung Richard S. Davis (auf der Rahmenrückpappe mit dem Etikett)). Ernst Ludwig Kirchner. Gemälde, Aquarelle, Handzeichnungen, farbige Graphik, Stuttgarter Kunstkabinett, Stuttgart 1953, Kat. Nr. 30, ohne Abb. (dort unter 'Sonnebeschienener Abhang im Winter'). E. L. Kirchner 1880-1938. Gemälde, Aquarelle, Zeichnungen, Graphik. Zur Erinnerung an den 75. Geburtstag des Künstlers, Württembergischer Kunstverein, Stuttgart 1956, Kat. Nr. 55. Ernst Ludwig Kirchner, Aquarelle und Zeichnungen, Museum der Bildenden Künste, Leipzig / Von der Heydt-Museum, Wuppertal, 1992/93, Kat. Nr. 19, mit Abb. (hier '1920' datiert). Aquarelle der „Brücke“, Brücke-Museum, Berlin 1995/96, Kat.-Nr. 28, mit Abb. (hier 'um 1920' datiert). Im Zentrum: Ernst Ludwig Kirchner, Hamburger Kunsthalle, Hamburg / Kirchner Museum, Davos / Brücke-Museum, Berlin, 2001-2003, Hamburg 2001, Kat. Nr. 82, mit Abb. S. 83 (auf der Rahmenrückpappe mit dem Etikett der Hamburger Kunsthalle). Kirchner, Hamburger Kunsthalle, Hamburg, 7.10.2010-16.1.2011, Kat.-Nr. 180, mit ganzs. Abb. S. 187. LITERATUR: Galerie Wolfgang Ketterer, München, 24.5.1977, Kat.-Nr. 1039, mit Abb. 'Hier ist es gewiss schön und ruhig, aber ein Fremder wird man immer bleiben, aber drüben [Fehmarn] ist man das ja auch. Es ist nur ein Gefühl, was einen manchmal erfasst, dass man sich einbildet, man gehöre dahin. Ist man da, so sieht man, [..] daß das Fremdsein nicht vom Lande abhängt, sondern im eigenen Inneren sitzt.' E. L. Kirchner, Davos, 10. Dezember 1924. Kirchners zeichnerische und koloristische Meisterschaft zeigt sich in 'Sertigtal im Winter' in beeindruckender Weise. In unnachahmlich sicherem Strich hat er die vertrauten Umrisse der nahen Schweizer Bergwelt aufs Papier gesetzt. Sicher und mit spielerischer Leichtigkeit integriert Kirchner hier das stehengelassene Weiß des Papiers in seine winterliche Komposition. Es sind die Schneemassen auf den Bergen und auf den Wiesen, die Kirchner auf diese Weise für eine Art malerisches Negativverfahren nutzt. 1923 ist Ernst Ludwig Kirchner zusammen mit Erna Schilling in das 'Haus auf dem Wildboden' am Eingang zum Sertigtal bei Davos gezogen, wo Kirchner bis zu seinem Freitod im Jahr 1938 lebt. Dort wo Kirchner zurückgezogen in der Einsamkeit der Schweizer Bergwelt im Anschluss an seine zahlreichen Sanatoriumsaufenthalte seine neue Heimat sucht, ist unser faszinierendes Aquarell entstanden. Kirchner, der seit dem Ersten Welkriege an diversen Ängsten leidet und von Veronal und Morphium abhängig ist, sollte das beruhigende Bergpanorama ursprünglich als geeigneter Ort für eine Entziehunsgkur dienen. Während seine nervösen Zustände und Ängste jedoch bleiben, nutzt er die abgeschiedene, schroffe Bergwelt als reizvolle Inspirationsquelle. Und so hat Kirchner in dieser psychisch extremen Lebensphase gerade auch im Bereich der Zeichnung und Druckgrafik Hauptwerke von beeindruckender Stärke hinterlassen. Auch unser Aquarell begeistert durch den charakteristischen, expressiv-nervösen Strich, mit dem Kirchner die Tannen, das Haus und den Pferdeschlitten ins Bild setzt. Kirchner hat den für ihn alltäglichen Blick ins Tal aus gleicher Perspektive auch in dem seltenen Holzschnitt 'Sertigstrasse im Winter' festgehalten, den der Künstler in einem Brief an Gustav Schiefler auf das Jahr 1924 datiert. Im selben Jahr hat er auch das motivisch ähnliche Gemälde 'Sertigweg im Sommer' geschaffen, das zuletzt 2016 in Zürich für 1,4 Millionen Schweizer Franken den Besitzer wechselte. [JS] Aufrufzeit: 12.12.2020 - ca. 17.23 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Pablo Picasso 1881 Malaga - 1973 Mougins Visage No. 0. 1963. Keramik. Weißer Scherben mit Engoben- und Emailledekor, glasiert. Ramié 458. Auf der Standfläche nummeriert, betitelt 'N° 0' und bezeichnet 'Edition Picasso Madoura'. Aus einer Auflage von 500 Exemplaren. Durchmesser: 25 cm (9,8 in). [SM]. • Picassos Keramiken umfassen mehr als 3000 Werke und nehmen damit einen großen Anteil in seinem künstlerischen Schaffen ein • Die Keramik bietet Picasso vielfältige Ausdrucksmöglichkeiten zwischen Malerei und Skulptur • Picasso führt die jahrtausendealte Technik der Töpferkunst in die Formensprache des 20. Jahrhunderts. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 12.12.2020 - ca. 18.55 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPablo Picasso 1881 Malaga - 1973 Mougins Visage No. 0. 1963. Ceramics. White sherd with engobe- and enamel decor, glazed. Ramié 458. Numbered, titled 'N° 0' and inscribed 'Edition Picasso Madoura' on base. From an edition of 500 copies. Diameter: 25 cm (9.8 in). [SM]. • Picasso's ceramic oeuvrecomprises more than 3000 works and thus makes for a large part of his overall creation. • Ceramics offer Picasso versatile means of expression between painting and sculpting. • Picasso takes the thousands-of-years-old pottery technique to modern art. PROVENANCE: Private collection North Rhine-Westphalia. Called up: December 12, 2020 - ca. 18.55 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Fritz Winter 1905 Altenbögge - 1976 Herrsching am Ammersee Mit zwei Rot. 1968. Öl auf Leinwand. Nicht bei Lohberg. Rechts unten signiert und datiert. Verso signiert, datiert und betitelt. 90 x 80 cm (35,4 x 31,4 in). [JS]. • Leuchtende Komposition, die ihre besondere Spannung aus der Gegenüberstellung der beiden roten Farbfelder erhält. • Schönes Beispiel für den Übergang von der Werkreihe der Rechteck- und Reihenbilder der 1960er Jahre hin zu den stärker monochrom aufgebauten Kompositionen der 1970er Jahre. • Erstmals auf dem internationalen Auktionsmarkt (Quelle: www.artprice.com). • Winter ist einer der führenden Vertreter des deutschen Informel und der abstrakten Nachkriegsmoderne. • Bereits in den 1950er Jahren stellt Winter in Amerika aus und ist auf zwei Ausstellungen des Museum of Modern Art, New York, vertreten. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatsammlung Norddeutschland (1983 über Helga Gausling, Fritz-Winter-Haus, Ahlen, aus dem Nachlass erworben), seitdem in Familienbesitz. Aufrufzeit: 11.12.2020 - ca. 14.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFritz Winter 1905 Altenbögge - 1976 Herrsching am Ammersee Mit zwei Rot. 1968. Oil on canvas. Not in Lohberg. Signed and dated in lower right. Verso signed, dated and titled. 90 x 80 cm (35.4 x 31.4 in). [JS]. • Luminous composition, which gets its special tension from the juxtaposition of the two red color fields. • Fine example from the transition from rectangular and serial pictures in the 1960s to the more monochrome compositions of the 1970s. • For the first time on the international auction market (source: www.artprice.com). • Winter is one of the leading representatives of German Informalism and abstract post-war modernism. • Winter exhibited in America as early as in the 1950s and was represented in two exhibitions at the Museum of Modern Art, New York. PROVENANCE: From the artist's estate. Private collection Northern Germany (in 1983 acquired from the estate through Helga Gausling, Fritz-Winter-Haus, Ahlen), ever since family-owned. Called up: December 11, 2020 - ca. 14.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Christian Rohlfs 1849 Niendorf/Holstein - 1938 Hagen Weiblicher Akt. Um 1918. Tempera auf Papier. Nicht bei Vogt. Rechts unten monogrammiert. Auf chamoisfarbenem Velin. 50,8 x 56,8 cm (20 x 22,3 in), blattgroß. [CH]. • Ausgearbeitete Darstellung in charakteristischem Pinselduktus und typisch-warmtoniger Farbpalette. • Namhafte Provenienz. • Seit über 15 Jahren in Privatbesitz (Deutschland). Mit einer schriftlichen Echtheitsbestätigung des Christian Rohlfs Archivs, Osthaus Museum Hagen, vom 26. Oktober 2020. Die Arbeit wird unter der Registriernummer 'CRA 200/20' in das Christian Rohlfs Archiv aufgenommen. PROVENIENZ: Galerie Wilfried Utermann, Dortmund. Privatsammlung USA (im April 1985 vom Vorgenannten erworben). Kunsthandel Hubertus Melsheimer, Köln (verso mit dem Etikett). Privatsammlung Deutschland. LITERATUR: Sotheby's, London, Impressionist and Modern Works on Paper, 4.2.2004, Lot 549 (mit Farbabb., S. 163). Aufrufzeit: 12.12.2020 - ca. 17.39 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONChristian Rohlfs 1849 Niendorf/Holstein - 1938 Hagen Weiblicher Akt. Um 1918. Tempera on paper. Not in Vogt. Lower right monogrammed. On creme wove paper. 50.8 x 56.8 cm (20 x 22.3 in), the full sheet. [CH]. • Fully executed depiction in characteristic duct and a warm and earthen palette. • Notable provenance. • Part of a German private collection for more than 15 years. Accompanied by a certificate of authenticity issued by the Christian Rohlfs Archive, Osthaus Museum Hagen, on October 26, 2020. The work will be included into the archive with the registartion number 'CRA 200/20'. PROVENANCE: Galerie Wilfried Utermann, Dortmund. Private collection USA (acquired from aforemntioned in April 1985). Art trader Hubertus Melsheimer, Cologne (verso with the label). Private collection Germany. LITERATURE: Sotheby's, London, Impressionist and Modern Works on Paper, February 4, 2004, lot 549 (with color illu. on p. 163). Called up: December 12, 2020 - ca. 17.39 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Markus Lüpertz 1941 Liberec/Böhmen - lebt und arbeitet in Berlin, Düsseldorf und Karlsruhe Selbstportrait 'Ich als Dichter'. 1983. Öl auf Leinwand. Rechts oben mit dem Künstlermonogramm. Verso auf der Leinwand signiert und datiert sowie auf dem Keilrahmen betitelt und mit einem Richtungspfeil bezeichnet (die Datierung zum Teil mit Ausstellungsetiketten überklebt). 100 x 80,5 cm (39,3 x 31,6 in). • Aus der Werkserie der Selbstporträts der frühen 1980er Jahre. • Erstmals auf dem Auktionsmarkt angeboten. • Seit fast 25 Jahren in Privatbesitz. • Teil bedeutender Einzelausstellungen, etwa im Münchener Lenbachhaus und in der Kunstsammlung Nordrhein-Westfalen, Düsseldorf. • Abstrakte, zeitgenössische Interpretation eines mythologisch aufgeladenen Sujets. Die Authentizität der vorliegenden Arbeit wurde vom Atelier Markus Lüpertz mündlich bestätigt. Wir danken für die freundliche Beratung. PROVENIENZ: Privatsammlung (direkt vom Künstler erhalten). AUSSTELLUNG: Rosc '84. The Poetry of Vision (An International Exhibition of Modern Art), St. James's Gate, Dublin, 24.8.-7.11.1984 (verso auf dem Keilrahmen mit dem handschriftlich bezeichneten Ausstellungsetikett). Markus Lüpertz. Belebte Formen und kalte Malerei, Städtische Galerie im Lenbachhaus, München, 29.1.-30.3.1986, S. 42 und Kat.-Nr. 29 (mit ganzseitiger Farbabb., S. 85. Verso auf dem Keilrahmen mit dem typografisch bezeichneten Ausstellungsetikett). Markus Lüpertz. Gemälde - Skulpturen, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 30.3.-2.6.1996, Kat.-Nr. 27 (mit ganzseitiger Farbabb., S. 83. Verso auf dem Keilrahmen mit dem typografisch bezeichneten Ausstellungsetikett). LITERATUR: Dorothee Jansen u. Thomas Heyden (Hrsg.), Reden zu Lüpertz. Kunstsammlung Nordrhein-Westfalen, Düsseldorf 1996, S. 55f. (mit Abb.). Siegfried Gohr, Markus Lüpertz, Köln 2001, S. 144 (Abb.-Nr. 117). Kosme de Barañano u. Carolina Andrada Páez, The Works of Markus Lüpertz in the Bilbao Fine Arts Museum Collection, S. 10, in: Bulletin, Museo de Bellas Artes de Bilbao, Nr. 7, Bilbao 2013, S. 195-222 (mit Farbabb., S. 12). 'zwitschernd vor kraft als vogel sonderbar die dreibeinigkeit des absonderlichen den buckel des unverstandenen den alles verstehenden verstand des falsch liebenden verliebten springmesser gleich glasklar in einsicht trübe vor ewigkeit wußt ich es immer mein Genie.' Markus Lüpertz, zit. nach: Ausst.-Kat. Markus Lüpertz. Belebte Formen und kalte Malerei, Städtische Galerie im Lenbachhaus, München 1986, S. 25f. Markus Lüpertz gilt heute als einer der bedeutendsten deutschen Gegenwartskünstler. Neben Gerhard Richter, Sigmar Polke, Georg Baselitz und Anselm Kiefer wird er zu den 'Big Five' der deutschen zeitgenössischen Kunst gezählt. Obwohl die Malerei innerhalb seines Œuvres den höchsten Stellenwert einnimmt, arbeitet er interdisziplinär, in vielfältigen unterschiedlichen Bereichen der bildenden Kunst und Literatur. Seit den 1980er Jahren entstehen zahlreiche bildhauerische Arbeiten, von denen sich 'Die Philosophin' bspw. im Eingangsbereich des Bundeskanzleramts befindet. Bereits 1975 veröffentlicht er seinen ersten Gedichtband, dem weitere lyrische Werke folgen, sodass der Titel der hier angebotenen Arbeit 'Ich als Dichter' sich nicht als fantastische Vorstellung, sondern als auf Tatsachen beruhende Selbstreflexion offenbart. Mehrfach porträtiert sich der Künstler als Sänger und Dichter 'Orpheus' aus der griechischen Mythologie. Mit betörender Stimme verzaubert dieser Tiere, Pflanzen und Steine und so verwundert es nicht, dass Lüpertz seinem Selbstporträt hier links eine hinabschauende Amsel, einen kleinen Buchfinken und rechts eine glubschäugige, fischähnliche Kreatur zur Seite stellt. Da es Orpheus trotz seiner großartigen Fähigkeiten nicht gelingt, den Tod zu besiegen, mag man Lüpertz' Selbstporträt auch eine weitere Dimension unterstellen. Die linke untere Ecke erinnert federngleich an den Mythos des Ikarus, der, von den Göttern bestraft, ins Meer stürzt. In einem Interview auf seine Angst vor dem Tod angesprochen, erklärt der Künstler: 'Ich kann mir das nicht vorstellen, alt zu werden. [..] Das Leben macht mir einen Riesenspaß.' (zit. nach: Welt Online, 23.4.2016). Lüpertz sieht die Motivation für seine Malerei in einem permanenten Konflikt, in dem ununterbrochenen Kampf gegen den Tod: Die Malerei als Verewigung des eigenen Ichs, das Selbstporträt nicht nur als narzisstische Tat, sondern als Momentaufnahme des Daseins, des eigenen Geisteszustands auf der langen Suche nach der eigenen Identität. Natürlich zeigen die Selbstporträts deshalb keinerlei Ähnlichkeit mit der äußeren Erscheinung des Meisters. 'Abstraktion resultiert aus der Ich-Bezogenheit des Künstlers. Es gibt nur abstrakte Gemälde', erklärt Lüpertz (zit. nach: Ausst.-Kat. Markus Lüpertz, Haus der Kunst, München 2019/2020, S. 364). Dem Künstler geht es vielmehr um die Darstellung seines Inneren zu ebendiesem Zeitpunkt. So, wie er auch den in seinen früheren Bildern dargestellten Gegenständen (darunter Dachpfannen, Baumstämme und Zelte) jegliche Funktion abspricht, sie radikal vereinfacht und monumentalisiert, greift er auch in seinen Selbstporträts auf die für sein Schaffen ganz eigene, charakteristische malerische Konstruktion und abstrakte Farbflächenmalerei zurück, ohne das zugrunde liegende reale Motiv seines eigenen Gesichts weiter zu beachten. Formal und motivisch nehmen die Selbstporträts wie auch unser hier gezeigtes Werk ein Stück weit die Arbeiten der Werkserie 'Männer ohne Frauen - Parsifal' aus den 1990er Jahren vorweg. Auch in ihnen reduziert Lüpertz die Darstellung auf frontal gezeigte, meist alleinstehende Gesichter in undefinierbarem Umraum, deren Gesichtszüge aus schmalen Strichen und farbkräftigen Farbflächen bestehen und häufig von Gitterstrukturen umspielt werden, was im Ansatz mit dem hier eingesetzten, hellen verschnörkelten Linienkonstrukt vergleichbar ist. Das vorliegende Selbstporträt weist sich somit als bedeutendes, wegweisendes Werk innerhalb des vielseitigen Œuvres des Künstlers aus und verdeutlicht einmal mehr die verwirrende Ambiguität seines Schaffens. Lüpertz bewegt sich zwischen Abstraktion und Detail, Fantasie und Realität, Spontaneität und intensiver Selbstreflexion, plakativer Simplizität und metaphorischer Verschlüsselung. [CH] Aufrufzeit: 11.12.2020 - ca. 19.07 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).

Andy Warhol 1928 Pittsburgh - 1987 New York Cow. 1976. Farbserigrafie. Feldman/Schellmann/Defendi II.12A. Signiert. Eines von 100 signierten Exemplaren. Auf Plakatpapier. 114,5 x 74,5 cm (45 x 29,3 in), blattgroß. Gedruckt von Bill Miller's Wallpaper Studio, Inc., New York. Herausgegeben von Factory Additions, New York. [KT]. • Publiziert im Rahmen der Ausstellung im Modern Art Pavillion, Seattle. • Bereits 1966 entsteht die Siebdruck-Serie und Rauminstallation 'Cow Wallpaper', mit der eines der Treppenhäuser im Museum of Modern Art, New York, tapeziert ist. • Eines der 1979 von Warhol signierten Exemplare. PROVENIENZ: Hamilton-Selway Fine Art, West Hollywood (USA). Privatsammlung Süddeutschland (1999 vom Vorgenannten erworben). Aufrufzeit: 11.12.2020 - ca. 14.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAndy Warhol 1928 Pittsburgh - 1987 New York Cow. 1976. Silkscreen in colors. Feldman/Schellmann/Defendi II.12A. Signed. From an edition of 100 signed copies. On poster paper. 114.5 x 74.5 cm (45 x 29.3 in), the full sheet. Printed by Bill Miller's Wallpaper Studio, Inc., New York. Published by Factory Additions, New York. [KT]. • Published in context of an exhibition at the Modern Art Pavilion, Seattle. • The silkscreen series and spatial installation 'Cow Wallpaper' was created as early as in 1966, it is used as decoration of one of the staircases in the Museum of Modern Art, New York. • One of the copies signed by Warhol in 1979. PROVENANCE: Hamilton-Selway Fine Art, West Hollywood (USA). Private collection Southern Germany (acquired from aforementioned in 1999). Called up: December 11, 2020 - ca. 14.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Hanns Bolz 1885 Aachen - 1918 Kuranstalt Neuwittelsbach (bei München) Porträt des Kunsthändlers Alfred Flechtheim. Um 1910/11. Öl auf Leinwand. 41 x 33 cm (16,1 x 12,9 in). • Wunderbare Arbeit aus dem kleinen aber qualitativ herausragenden Werk des wiederentdeckten Rheinischen Expressionisten Hanns Bolz. • Bolz’ Gemälde wurden in den führenden Avantgarde-Galerien von Alfred Flechtheim in Düsseldorf und Hans Goltz in München ausgestellt und waren auch auf Herwarth Waldens legendärem 'Erstem Deutschen Herbstsalon' (1913) in Berlin vertreten. • Da der früh verstorbene Künstler vor seinem Tod seine Werke teils selbst vernichtet und teils testamentarisch deren Vernichtung verfügt hat, sind heute nur noch wenige Arbeiten des Künstlers erhalten. • Bisher wurden erst 23 Gemälde des Künstlers auf dem internationalen Auktionsmarkt angeboten (Quelle: www.artnet.de) • Porträts des bedeutenden Moderne-Händlers Alfred Flechtheim wurden u.a. auch von Karl Hofer (1922, Musée de Grenoble) und Otto Dix (1926, Nationalgalerie Berlin) geschaffen. Mit einer Expertise von Herrn Ernst Cremer, Aachen, vom 10. Okotber 2008 (in Kopie). PROVENIENZ: Der Neue Kunstsalon Max Dietzel, München (auf dem Keilrahmen mit dem Stempel). Neue Kunst Hans Goltz, München (auf dem Keilrahmen mit dem Etikett). Privatsammlung Süddeutschland (bis 2008, Ketterer Kunst, 3.12.2008). Privatsammlung (seit 2008, Ketterer Kunst, 3.12.2008). LITERATUR: Vgl. J. Heusinger von Waldegg, In memoriam Hanns Bolz, in: Aachener Kunstblätter, Bd. 47, 1976, S. 293ff. Ketterer Kunst, Auktion 342, Moderne Kunst, 3.12.2008, Los-Nr. 230, mit Abb. Ernst Cremer, Hanns Bolz. Botschafter der Moderne, Alsdorf 2018, S. 232. Der früh verstorbene Hanns Bolz gehört zu den großen expressionistischen Talenten des Rheinlandes. Erst in den 1960er Jahren beginnt die kunsthistorische Forschung langsam den Namen Hanns Bolz aus der Vergessenheit zu holen, wobei einer umfassenden Beschäftigung mit seinem Werk leider bis heute die geringe Zahl an erhaltenen Arbeiten entgegensteht, da Bolz testamentarisch die Vernichtung seines Werkes verfügt und den Großteil seine Werke vor seinem Tod selbst vernichtet hat. Hanns Bolz absolviert wohl um 1905/1908 ein Studium an der Düsseldorfer Kunstakademie. Im Anschluss geht er nach Paris, wo er bis Kriegsbeginn die meiste Zeit verbringt. Er mietet sich ein Atelier auf dem Montmartre, rue Gabrielle 49, das zuvor von Pablo Picasso genutzt wurde. Im Café du Dôme ist er ständiger Gast und gehört bald zu der kleinen deutschen Künstlerkolonie, die sich dort um Purrmann und Levy etabliert hatte. Spätestens hier lernt er den Kunsthändler Alfred Flechtheim kennen, der den illustren und in seinen Stilrichtungen ganz heterogenen Kreis der 'Dômiers' 1914 erstmals in seiner Galerie zeigt. Bolz wird bereits zu Lebzeiten bei den Kunsthändlern Hans Goltz in München und bei Alfred Flechtheim in Düsseldorf ausgestellt, die beide als Wegbereiter der Moderne gelten. In seinem malerischen Werk zeigt sich deutlich die Auseinandersetzung mit dem französischen Kubismus und Fauvismus. In den ersten Pariser Jahren ist wohl auch unser Porträt entstanden, das wahrscheinlich den berühmten Moderne-Händler Alfred Flechtheim zeigt. Auffällig ist die charakteristische Physiognomie des Dargestellten: die große, markante Nase, die fliehende Stirn, das spitze Kinn und der große Mund mit den vollen Lippen. Die Beleuchtung von schräg hinten verleiht den ernergischen Gesichtszügen eine besondere Prägnanz. Typisch für das Werk von Bolz ist hier die gedämpfte Farbpalette und die kubistisch beeinflusste Behandlung von Licht und Schatten, die ein Gegeneinandersetzen heller und dunkler Bildzonen mit sanften Modulationen und Übergängen zu vereinen versteht. Hanns Bolz ist auf allen wichtigen Ausstellungen seiner Zeit vertreten. Er nimmt an der Sonderbundausstellung 1912 in Köln, der Armory Show in New York und Chicago und an Herwarth Waldens 'Erstem Deutschen Herbstsalon' 1913 in Berlin teil. 1914 wird der Künstler zum Militärdienst eingezogen und erleidet eine schwere Gasvergiftung, die ihn teilweise erblinden lässt. Bolz wird vorzeitig entlassen und verstirbt 1918 an den Folgen seiner Kriegsverletzung in der Kuranstalt Neuwittelsbach bei München. Alfred Flechtheim zeigt 1922 in seiner Galerie unter dem Titel 'Hanns Bolz. In Memoriam' eine Gedächtnisausstellung mit 30 Gemälden des damals hoch geschätzten und heute leider nahezu vergessenen Rheinländers. [JS] Aufrufzeit: 11.12.2020 - ca. 19.02 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONHanns Bolz 1885 Aachen - 1918 Kuranstalt Neuwittelsbach (bei München) Porträt des Kunsthändlers Alfred Flechtheim. Um 1910/11. Oil on canvas. 41 x 33 cm (16.1 x 12.9 in). • Wonderful work from the small yet remarkable oeuvre of the rediscovered Rhenish Expressionist Hanns Bolz. • Bolz` paintings were shown at the leading vanguard galleries of Alfred Flechtheim in Düsseldorf and Hans Goltz in Munich and were also shown at Herwarth Walden's legendary '1. Deutschen Herbstsalon'(1913) in Berlin. • As the early deceased artist destroyed most of his art before his death, only very few works are still in existence today. • To date only 23 paintings by the artist have been offered on the international auktion market (source:www.artnet.de). Accompanied by an expertise from Mr. Ernst Cremer, Aachen, dated October 10, 2008. PROVENANCE: Neue Kunst Hans Goltz, Munich (with a label on the stretcher). Der Neue Kunstsalon Max Dietzel, Munich (with a stamp on the stretcher). Private collection Southern Germany (until 2008, Ketterer Kunst, December 3, 2008). Private collection (since 2008, Ketterer Kunst, December 3, 2008). LITERATURE: Ketterer Kunst, auction 342, Modern Art, December 3, 2008, cat. no. 230, with illu. Called up: December 11, 2020 - ca. 19.02 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.