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FÖRG, GÜNTHER FÖRG, GÜNTHER 1952 Füssen - 2013 Freiburg i. Brsg Titel: Ohne Titel (Gitterbild). Datierung: 2001. Technik: Farblithografie über Gouache auf Japan. Maße: 68 x 51,5cm. Bezeichnung: Signiert und datiert unten rechts: Förg 01. Rahmen/Sockel: Passepartout. Die Arbeit gehört zu den Blättern außerhalb der Auflage von 60 signierten und nummerierten Exemplaren. Durch den individuellen Auftrag der Gouache und die verschiedenen Papierarten hat jedes von ihnen Unikatcharakter. Erläuterungen zum Katalog Günther Förg Deutschland Abstraktion Nachkriegskunst Unikate 2000er Abstrakt Papierarbeit Mischtechnik FÖRG, GÜNTHER FÖRG, GÜNTHER 1952 Füssen - 2013 Freiburg i. Brsg Title: Untitled (Grid Picture). Date: 2001. Technique: Colour lithograph over gouache on Japan. Measurement: 68 x 51,5cm. Notation: Signed and dated lower right: Förg 01. Frame/Pedestal: Mat. The work belongs to the sheets outside the edition of 60 signed and numbered copies. Due to the individual application of the gouache and the various paper types, they have unique character. Explanations to the Catalogue Günther Förg Germany Abstraction Post-War Art Post War 2000s Abstract Works on paper Mixed media

SIEPMANN, HEINRICH SIEPMANN, HEINRICH Mülheim a.d. Ruhr 1904 - 2002 Titel: B 18/1990. Datierung: 1990. Technik: Öl. Leinwand. Darstellungsmaß: 80cm. Blattmaß: 80cm. Bezeichnung: Signiert und datiert. Rahmen: Atelierleiste (90 x 90cm). Prov.: Galerie Neher, Essen (Aufkleber); Privatsammlung Nordrhein-Westfalen. WVZ. Ulrich, Nr. B 18/1990. Erläuterungen zum Katalog Heinrich Siepmann Deutschland Konstruktivismus Nachkriegskunst Unikate 1990er Farbe Gemälde Öl Abstrakt SIEPMANN, HEINRICH SIEPMANN, HEINRICH Mülheim a.d. Ruhr 1904 - 2002 Title: Untitled. Date: 1990. Technique: Oil. canvas. Depiction Size: 80cm. Sheet Size: 80cm. Notation: Signed and dated. Frame: Studio strip (90 x 90cm). Prov.: Galerie Neher, Essen (label); Private collection North Rhine-Westphalia. Cat. rais. Ulrich, no. B 18/1990. Explanations to the Catalogue Heinrich Siepmann Germany Constructivism Post-War Art Post War 1990s Colour Painting Oil Abstract

BECK, HERBERT BECK, HERBERT 1920 Leipzig - 2010 Tegernsee Titel: Roter Mohn. Technik: Mischtechnik auf Büttenkarton. Maße: 44,5 x 39cm. Bezeichnung: Monogrammiert unten rechts und verso jeweils: B. Rahmen/Sockel: Rahmen. Erläuterungen zum Katalog Herbert Beck Deutschland Expressionismus Moderne Kunst Unikate Blumen Papierarbeit Mischtechnik BECK, HERBERT BECK, HERBERT 1920 Leipzig - 2010 Tegernsee Title: Roter Mohn. Technique: Mixed media on laid card. Measurement: 44,5 x 39cm. Notation: Monogrammed bottom right and verso each: B. Frame/Pedestal: Framed. Explanations to the Catalogue Herbert Beck Germany Modern Art Post War Flowers Works on paper Mixed media

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: Ohne Titel. Datierung: 2002. Technik: Aquarell und Tusche auf Velin. Maße: 35,5 x 28cm. Bezeichnung: Signiert unterhalb der Darstellung rechts: marcel DZAMA. Rahmen/Sockel: Rahmen. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Fabelwesen DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: Untitled. Date: 2002. Technique: Watercolour and India ink on vellum. Measurement: 35,5 x 28cm. Notation: Signed below the depiction right: marcel DZAMA. Frame/Pedestal: Framed. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media Mythical creature

CLARENBACH, MAX CLARENBACH, MAX 1880 Neuss - 1952 Wittlaer/ Düsseldorf Titel: Schlittenfahrt vor Kitzbühel. Technik: Öl. Karton. Darstellungsmaß: 45,5cm. Blattmaß: 54,5cm. Bezeichnung: Signiert. Rahmen: Rahmen. Max Clarenbach Deutschland Düsseldorfer Schule Sonderbund 1.H. 20.Jh. Unikate CLARENBACH, MAX CLARENBACH, MAX 1880 Neuss - 1952 Wittlaer/ Düsseldorf Title: Schlittenfahrt vor Kitzbühel. Technique: Oil. cardboard. Depiction Size: 45,5cm. Sheet Size: 54,5cm. Notation: Signed. Frame: Framed. Max Clarenbach Germany Düsseldorf School Sonderbund Modern Art

KNOEBEL, IMI KNOEBEL, IMI 1940 Dessau Titel: Keilrahmen. Datierung: 1968/1989. Technik: Holz auf Maße: 30 x 30cm. 2Bezeichnung: Signiert, datiert und nummeriert verso: 763/1000 imi 6889. 763/1000 Lit.: Buchholz, Daniel/Magnani, Gregorio (Hrsg.): International Index of MULTIPLES from Duchamp to the present, Köln 1993, S. 111. Erläuterungen zum Katalog Imi Knoebel Deutschland Minimalismus Fotografie Nachkriegskunst Objekte 1960er Multiple Holz KNOEBEL, IMI KNOEBEL, IMI 1940 Dessau Title: Keilrahmen. Date: 1968/1989. Technique: Wood on Measurement: 30 x 30cm. 2Notation: Signed, dated and numbered verso: 763/1000 imi 6889. 763/1000 Lit.: Buchholz, Daniel/Magnani, Gregorio (eds.): International Index of MULTIPLES from Duchamp to the present, Cologne 1993, p. 111. Explanations to the Catalogue Imi Knoebel Germany Minimalism Photographs Post-War Art Sculptures 1960s Multiple Wood

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: Ohne Titel. Datierung: 2002. Technik: Aquarell und Tusche auf Velin. Maße: 29,5 x 23cm. Bezeichnung: Signiert unterhalb der Darstellung rechts: marcel DZAMA. Rahmen/Sockel: Rahmen. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Fantasiewesen DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: Untitled. Date: 2002. Technique: Watercolour and India ink on vellum. Measurement: 29,5 x 23cm. Notation: Signed below the depiction right: marcel DZAMA. Frame/Pedestal: Framed. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media Fantasy Beings

LIEBERMANN, MAX LIEBERMANN, MAX Berlin 1847 - 1935 Titel: Ohne Titel. Technik: Bleistift auf Velin. Maße: 23 x 32cm. Bezeichnung: Signiert unten rechts: Rahmen/Sockel: Modellrahmen.Der Zeichnung liegt eine Authentizitätsbestätigung des Max Liebermann-Archives, Berlin, vor. Wir danken Frau Dr. Margreet Nouwen für die freundliche, wissenschaftliche Unterstützung.Prov.: Galerie Meissner, Zürich (Aufkleber); Privatsammlung Schweiz. Erläuterungen zum Katalog Max Liebermann Deutschland Impressionismus Berliner Sezession Münchner Sezession Moderne Kunst Unikate Figur / Figuren Papierarbeit Zeichnung LIEBERMANN, MAX LIEBERMANN, MAX Berlin 1847 - 1935 Title: Untitled. Technique: Pencil on vellum. Measurement: 23 x 32cm. Notation: Signed lower right: Frame/Pedestal: Craftman's frame. Prov.: Galerie Meissner, Zurich (label); Private collection Switzerland. Explanations to the Catalogue Max Liebermann Germany Berlin Secession Munich Secession Modern Art Figure / Figures Works on paper Drawing

HÖCKELMANN, ANTONIUS HÖCKELMANN, ANTONIUS 1937 Oelde - 2000 Köln Titel: "3 Blumenbäume". Datierung: 1999. Technik: Acryl und Sprühfarbe auf Leinwand. Darstellungsmaß: 100cm Blattmaß: 100cm. Bezeichnung: Signiert und datiert. untenAntonius Höckelmann. Nochmals signiert verso: Antonius Höckelmann. Hier zudem betiteltRahmen: Rahmen. Erläuterungen zum Katalog Antonius Höckelmann Deutschland Figurative Malerei Nachkriegskunst Unikate 1990er Pflanzen Gemälde Mischtechnik Abstrakt HÖCKELMANN, ANTONIUS HÖCKELMANN, ANTONIUS 1937 Oelde - 2000 Cologne Title: "3 Blumenbäume". Date: 1999. Techinque: Acrylic and spray paint on canvas. Depiction Size: 100cm. Sheet Size: 100cm. Notation: Signed and dated. at the bottomAntonius Höckelmann. Once more signed verso: Antonius Höckelmann. Here additionally titledFrame: Framed. Explanations to the Catalogue Antonius Höckelmann Germany Figurative Painting Post-War Art Post War 1990s Plants Painting Mixed media Abstract

WIINBLAD, BJÖRN WIINBLAD, BJÖRN 1918 Kopenhagen - 2006 Lyngby Titel: Porzellanservice. 22-teilig. Jedes Stück: farbig gefasst und glasiert; Kanne und alle Teller zudem handbemalt. Auf der Unterseite die Marke: Rosenthal studio-line GERMANY. Kanne und Teller hier zu dem jeweils bezeichnet: HANDGEMALT. Dazu Stempelsignatur: Björn Wiinbald. Rosenthal, studio-linie (Hrsg.). Erläuterungen zum Katalog Björn Wiinblad Dänemark Figurative Kunst Nachkriegskunst Objekte Figur / Figuren Keramik Porzellan Pflanzen WIINBLAD, BJÖRN WIINBLAD, BJÖRN 1918 Copenhagen - 2006 Lyngby Titel: Porcelain Service. 22-parts. Each piece: polychromed and glazed; Teapot and all plates additionally hand-painted. On the bottom side the mark: Rosenthal studio-line GERMANY. Teapot and plates here each inscribed: HANDGEMALT. Additionally stamp signature: Björn Wiinbald. Rosenthal, studio-linie (publisher). Explanations to the Catalogue Björn Wiinblad Denmark Figurative Art Post-War Art Sculptures Figure / Figures Ceramic Porcelain Plants

MODERSOHN, OTTO MODERSOHN, OTTO 1865 Soest - 1943 Rotenburg Titel: Fischerhuder Überschwemmungslandschaft mit Booten. Datierung: Um 1912. Technik: Aquarell und Tusche auf Velin. Maße: 26 x 30cm. Bezeichnung: Signiert unten rechts: OModersohn. Rahmen/Sockel: Rahmen. Das Aquarell bezieht sich auf ein Ölgemälde im Bestand der Landesgalerie Oldenburg. Wir danken Herrn Rainer Noeres, Otto Modersohn Museum Fischerhude, für seine freundliche, wissenschaftliche Unterstützung. Prov.: Galerie Cohrs-Zirus, Worpswede; Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Otto Modersohn Deutschland Expressionismus Berliner Sezession Moderne Kunst Unikate 1910er Landschaft Papierarbeit Mischtechnik Boote MODERSOHN, OTTO MODERSOHN, OTTO 1865 Soest - 1943 Rotenburg Title: Fischerhuder Überschwemmungslandschaft mit Booten. Date: Ca. 1912. Technique: Watercolour and India ink on vellum. Measurement : 26 x 30cm. Notation: Signed lower right: OModersohn. Frame/Pedestal: Framed. The watercolour refers to an oil painting in the collection of the Landesgalerie Oldenburg. We thank Rainer Noeres, Otto Modersohn Museum Fischerhude, for his kind, scientific support. Prov.: Galerie Cohrs-Zirus, Worpswede; Private collection North Rhine-Westphalia. Explanations to the Catalogue Otto Modersohn Germany Berlin Secession Modern Art 1910s Landscape Works on paper Mixed media Boats

BROODTHAERS, MARCEL BROODTHAERS, MARCEL 1924 Brüssel - 1976 Köln Titel: La Signature Série 1 Tirage Illimité. Datierung: 1969. Technik: Farbserigrafie auf Pergamentpapier. Maße: 53 x 70 x 55 x 74,5cm. Bezeichnung: MonogrammiertRahmen/Sockel: Rahmen. Zustand: Blatt gebräunt. Knickspur in der linken unteren Ecke. Verso Reste alter Montierung. Eines von 60 Exemplaren. Erläuterungen zum Katalog Marcel Broodthaers Belgien Konzeptkunst Nachkriegskunst Grafik 1960er Schrift Druckgrafik Serigrafie BROODTHAERS, MARCEL BROODTHAERS, MARCEL 1924 Brussels - 1976 Cologne Title: La Signature Série 1 Tirage Illimité. Date: 1969. Technique: Colour silkscreen on parchment paper. Measurement: 53 x 70 x 55 x 74,5cm. Notation: MonogrammedFrame/Pedestal: Framed. Condition: Sheet discoloured. Crease in the left bottom corner. Verso remains of an old mounting. One of 60 copies. Explanations to the Catalogue Marcel Broodthaers Conceptual Art Post-War Art Prints 1960s Writing Print Silkscreen

INDIANA, ROBERT INDIANA, ROBERT 1928 New Castle, IN/USA - 2018 Vinalhaven, ME/USA Titel: LOVE / Die Deutsche Liebe-Hommage à Documenta (German Love). Datierung: 1997. Technik: Farbserigrafie auf leichtem Karton. Maße: 46 x 46 x 61 x 51cm. Bezeichnung: Signiert, datiert und nummeriertRahmen/Sockel: Rahmen. Zustand: Minimale Bestoßung an der linken oberen Ecke. Ansonsten in sehr gutem Zustand. Erschienen anlässlich der Documenta X. Erläuterungen zum Katalog Robert Indiana USA Pop Art Nachkriegskunst Grafik 1990er Wort Druckgrafik Serigrafie INDIANA, ROBERT INDIANA, ROBERT 1928 New Castle, IN/USA - 2018 Vinalhaven, ME/USA Title: LOVE / Die Deutsche Liebe-Hommage à Documenta (German Love). Date: 1997. Technique: Colour silkscreen on thin card. Measurement : 46 x 46 x 61 x 51cm. Notation: Signed, dated and numberedFrame/Pedestal: Framed. Condition: Minimally bumped on the left top corner. Otherwise in very good condition. Published on the occasion of the Documenta X. Explanations to the Catalogue Robert Indiana USA Pop Art Post-War Art Prints 1990s Word Print Silkscreen

RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Köln 1892 - 1970 Titel: Porträt einer jungen Frau (Inge Ries-Hüser). Datierung: 1967. Technik: Öl auf Leinwand. Maße: 81,5 x 60cm. Bezeichnung: Monogrammiert und datiert unten rechts: AR 67. Rahmen/Sockel: Rahmen. Erläuterungen zum Katalog Anton Räderscheidt Deutschland Neue Sachlichkeit Abstraktion Moderne Kunst Unikate 1960er Porträt Gemälde Öl Frau RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Cologne 1892 - 1970 Title: Porträt einer jungen Frau (Inge Ries-Hüser). Date: 1967. Technique: Oil on canvas. Measurement : 81,5 x 60cm. Notation: Monogrammed and dated lower right: AR 67. Frame/Pedestal: Framed. Explanations to the Catalogue Anton Räderscheidt Germany New Objectivity Abstraction Modern Art 1960s Portrait Painting Oil Woman

CAVAEL, ROLF CAVAEL, ROLF 1898 Königsberg - 1979 München Titel: No. 63/F1. Datierung: 1963. Technik: Mischtechnik. HolzMaße: 40 x 53 x Bezeichnung: Monogrammiert unten rechts: CA (ligiert). Betitelt, signiert und datiert verso: No. 63/F1 1963 CAVAEL. Sockel/Rahmen: Rahmen. Erläuterungen zum Katalog Rolf Cavael Deutschland Informel ZEN 49 Nachkriegskunst Unikate 1960er Abstrakt Gemälde CAVAEL, ROLF CAVAEL, ROLF 1898 Königsberg - 1979 Munich Title: No. 63/F1. Date: 1963. Technique: Mixed media. woodMeasurement: 40 x 53 x Notation: Monogrammed lower right: CA (ligated). Titled, signed and dated verso: No. 63/F1 1963 CAVAEL. Frame/Pedestal: Framed. Explanations to the Catalogue Rolf Cavael Germany Informel ZEN 49 Post-War Art Post War 1960s Abstract Painting

PEINER, WERNER PEINER, WERNER Düsseldorf 1897 - 1981 Titel: Nubierin. Technik: Gouache auf Papier. Montierung: Auf Hartfaserplatte gezogen. Maße: 80 x 60cm. Bezeichnung: Signiert unten links: WPEINER (Initialen ligiert). Rahmen/Sockel: Modellrahmen. Erläuterungen zum Katalog Werner Peiner Deutschland Neue Sachlichkeit Moderne Kunst Unikate Figur / Figuren Papierarbeit Gouache Frau PEINER, WERNER PEINER, WERNER Düsseldorf 1897 - 1981 Title: Nubierin. Technique: Gouache on paper. Mounting: Laid down on fibreboard. Measurement: 80 x 60cm. Notation: Signed lower left: WPEINER (initials ligated). Frame/Pedestal: Craftman's frame. Explanations to the Catalogue Werner Peiner Germany New Objectivity Modern Art Figure / Figures Works on paper Gouache Woman

BUCHHEISTER, CARL BUCHHEISTER, CARL Hannover 1890 - 1964 Titel: "Komposition Ma 5". Datierung: 1954-1963. Technik: Mischtechnik auf festem Karton. Maße: 51,5 x 40,5cm. Bezeichnung: Signiert und datiert verso: Carl Buchheister 1954-1963. Hier zudem betitelt und gewidmet. Rahmen/Sockel: Künstlerrahmen. WVZ. Kemp, Nr. 1963/23. Erläuterungen zum Katalog Carl Buchheister Deutschland Informel Nachkriegskunst Unikate 1950er Abstrakt Gemälde Mischtechnik BUCHHEISTER, CARL BUCHHEISTER, CARL Hannover 1890 - 1964 Title: "Komposition Ma 5". Date: 1954-1963. Technique: Mixed media on strong cardboard. Measurement: 51,5 x 40,5cm. Notation: Signed and dated verso: Carl Buchheister 1954-1963. Here additionally titled and dedicated. Frame/Pedestal: Artist's frame. Cat. rais. Kemp, no. 1963/23. Explanations to the Catalogue Carl Buchheister Germany Informel Post-War Art Modern Art 1950s Abstract Painting Mixed media

HERKENRATH, PETER HERKENRATH, PETER 1900 Köln - 1992 Mainz Titel: Ohne Titel. Technik: Gouache auf festem Velin. Maße: 50 x 35cm. Bezeichnung: Signiert unten rechts: Herkenrath. Verso bezeichnet mit der Werk-Nr. 1286. Rahmen/Sockel: Modellrahmen. Prov.: Nachlass Peter Herkenrath (Stempel verso); Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Peter Herkenrath Deutschland Informel Nachkriegskunst Unikate Abstrakt Zeichnung Gouache HERKENRATH, PETER HERKENRATH, PETER 1900 Cologne - 1992 Mainz Title: Untitled. Technique: Gouache on strong vellum. Measurement: 50 x 35cm. Notation: Signed lower right: Herkenrath. Verso inscribed with the work no. 1286. Frame/Pedestal: Craftman's frame. Prov.: Peter Herkenrath estate (stamp verso); Private collection North Rhine-Westphalia. Explanations to the Catalogue Peter Herkenrath Germany Informel Post-War Art Post War Abstract Drawing Gouache

WUNDERLICH, PAUL WUNDERLICH, PAUL 1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Titel: Helga. Datierung: 1959. Technik: Öl auf Hartfaserplatte. Montierung: Auf dickem Karton aufgezogen. Maße: 77 x 62,5cm. Bezeichnung: Signiert und datiert unten rechts: Wunderlich 1959. Rahmen/Sockel: Rahmen. WVZ. Jensen, Nr. 34. Erläuterungen zum Katalog Paul Wunderlich Deutschland Phantastischer Realismus Surrealismus Nachkriegskunst Unikate 1950er Figur / Figuren Gemälde Öl Frau WUNDERLICH, PAUL WUNDERLICH, PAUL 1927 Eberswalde - 2010 Saint-Pierre-de-Vassols Title: Helga. Date: 1959. Technique: Oil on fibreboard. Mounting: Laid down on thick card. Measurement : 77 x 62,5cm. Notation: Signed and dated lower right: Wunderlich 1959. Frame/Pedestal: Framed. Cat. rais. Jensen, no. 34. Explanations to the Catalogue Paul Wunderlich Germany Surrealism Post-War Art Modern Art 1950s Figure / Figures Painting Oil Woman

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: "When Billy the Kid was in the civil war". Datierung: 2002. Technik: Gouache und Tusche auf Velin. Maße: 56,5 x 70cm. Bezeichnung: Signiert unten rechts: Marcel DZAMA. Betitelt im oberen Blattbereich. Rahmen/Sockel: Rahmen. Im Rahmen beschrieben. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Krieg DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: "When Billy the Kid was in the civil war". Date: 2002. Technique: Gouache and India ink on vellum. Measurement: 56,5 x 70cm. Notation: Signed lower right: Marcel DZAMA. Titled in the upper sheet area. Frame/Pedestal: Framed. Not examined out of the frame. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media War

RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Köln 1892 - 1970 Titel: Pferde. Datierung: 1957. Technik: Gouache auf Karton. Darstellungsmaß: 77,8cm Blattmaß: 62,5cm. Bezeichnung: Signiert und datiert. unten rechtsAnton 57Rahmen: Passepartout. Auf der Rückseite ist eine ausgestrichene Gouache mit ähnlichem Motiv. Signiert und datiert: Anton 57. Erläuterungen zum Katalog Anton Räderscheidt Deutschland Neue Sachlichkeit Abstraktion Moderne Kunst Unikate 1950er Pferde Papierarbeit Gouache Tiere RÄDERSCHEIDT, ANTON RÄDERSCHEIDT, ANTON Cologne 1892 - 1970 Title: Pferde. Date: 1957. Techinque: Gouache on card. Depiction Size: 77,8cm. Sheet Size: 62,5cm. Notation: Signed and dated. lower rightAnton 57Frame: Mat. On the back is a crossed out gouache with a similar motive. Signed and dated: Anton 57. Explanations to the Catalogue Anton Räderscheidt Germany New Objectivity Abstraction Modern Art 1950s Horses Works on paper Gouache Animals

FOTH, DETLEV FOTH, DETLEV 1959 Münster Titel: Ohne Titel. Datierung: 2004. Technik: Öl auf Leinwand. Maße: 60 x 80cm. Bezeichnung: Signiert und datiert verso: Foth 2004. Erläuterungen zum Katalog Detlev Foth Deutschland Figurative Malerei Zeitgenössische Kunst Unikate 2000er Landschaft Gemälde Öl Abstrakt FOTH, DETLEV FOTH, DETLEV 1959 Münster Title: Untitled. Date: 2004. Technique: Oil on canvas. Measurement: 60 x 80cm. Notation: Signed and dated verso: Foth 2004. Explanations to the Catalogue Detlev Foth Germany Figurative Painting Contemporary Art 2000s Landscape Painting Oil Abstract

LÜPERTZ, MARKUS LÜPERTZ, MARKUS 1941 Liberec/Böhmen Titel: Ohne Titel. Datierung: Ca. 2006. Technik: Mischtechnik auf Papier (Telekom Rechnung). Darstellungsmaß: 30cm. Blattmaß: 21,5cm. Bezeichnung: Künstlersignet. Rahmen/Sockel: Rahmen. Erläuterungen zum Katalog Markus Lüpertz Deutschland Neoexpressionismus Figurative Malerei Neue Wilde Nachkriegskunst Unikate 2000er Tanz / Tänzer Papierarbeit Mischtechnik Mann LÜPERTZ, MARKUS LÜPERTZ, MARKUS 1941 Liberec/Bohemia Title: Untitled. Date: Ca. 2006. Technique: Mixed media on paper (Telekom invoice). Depiction Size: 30cm. Sheet Size: 21,5cm. Notation: Artist's signet. Frame/Pedestal: Framed. Explanations to the Catalogue Markus Lüpertz Germany Neo-Expressionism Figurative Painting Neue Wilde Post-War Art Post War 2000s Dance / Dancer Works on paper Mixed media Man

RIS, GÜNTER FERDINAND RIS, GÜNTER FERDINAND 1928 Leverkusen - 2005 Darmstadt Titel: Rundrelief. Datierung: 1967. Technik: Lekutherm auf schwarz gestrichener Holzplatte montiert. Maße: 56 x 56 x 8,5cm. Vermutlich eines von zwei Exemplaren. Wir danken Boris von Brauchitsch, Berlin, für die freundliche, wissenschaftliche Unterstützung. Erläuterungen zum Katalog Günter Ferdinand Ris Deutschland Abstraktion Konstruktivismus Nachkriegskunst Objekte 1960er Abstrakt Relief Lekutherm RIS, GÜNTER FERDINAND RIS, GÜNTER FERDINAND 1928 Leverkusen - 2005 Darmstadt Title: Rundrelief. Date: 1967. Technique: Lekutherm mounted on black-painted wooden panel. Measurement: 56 x 56 x 8,5cm. Presumably one of two copies. We thank Boris von Brauchitsch, Berlin, for the kind, scientific support. Explanations to the Catalogue Günter Ferdinand Ris Germany Abstraction Constructivism Post-War Art Sculptures 1960s Abstract Relief

VIRNICH, THOMAS VIRNICH, THOMAS 1957 Eschweiler Titel: Italien. Datierung: 1995. Technik: Landkarten und Leinwand, verklebt und verformt auf Maße: 95 x 32cm. 3Bezeichnung: Datiert und signiert verso Mitte: 1995 Thomas Virnich. Rahmen/Sockel: Im Plexiglasrahmen. Erläuterungen zum Katalog Thomas Virnich Deutschland Zeitgenössische Kunst Objekte 1990er Italien Objekt VIRNICH, THOMAS VIRNICH, THOMAS 1957 Eschweiler Title: Italien. Date: 1995. Technique: Maps and canvas, glued and deformed on Measurement: 95 x 32cm. 3Notation: Dated and signed verso centre: 1995 Thomas Virnich. Frame/Pedestal: In Plexiglass frame. Explanations to the Catalogue Thomas Virnich Germany Contemporary Art Sculptures 1990s Italy Object

STANKOWSKI, ANTON STANKOWSKI, ANTON 1906 Gelsenkirchen - 1998 Stuttgart Titel: Plastik mit gleichem Volumen. Datierung: 1979. Technik: Edelstahl, verchromt auf Maße: 68,5 x 10cm. 8,5 Lit.: Anton Stankowski - Das Gesamtwerk 1925-1982, Stuttgart 1983, S. 342f., Kat.-Nr. 40b (Beigabe). Erläuterungen zum Katalog Anton Stankowski Konkrete Kunst Klassische Fotografie Nachkriegskunst Objekte 1970er Abstrakt Skulptur Edelstahl STANKOWSKI, ANTON STANKOWSKI, ANTON 1906 Gelsenkirchen - 1998 Stuttgart Title: Plastik mit gleichem Volumen. Date: 1979. Technique: Stainless steel, chromed on Measurement: 68,5 x 10cm. 8,5 Lit.: Anton Stankowski - Das Gesamtwerk 1925-1982, Stuttgart 1983, p. 342f., cat. no. 40b (supplement). Explanations to the Catalogue Anton Stankowski Concrete Art Classic Photographs Post-War Art Sculptures 1970s Abstract Sculpture Stainless steel

KRIESTER, RAINER KRIESTER, RAINER 1935 Plauen - 2002 Vendone/Italien Titel: Piccola porta. Datierung: 1999. Technik: Bronze, dunkel patiniert auf Maße: 13,5 x 4cm. 3Bezeichnung: Signiert und nummeriert auf der Unterseite: KRIESTER 36/50. Daneben mit Gießerstempel: GIESSEREI ZIMMEREdition Kunsthaus Lübeck (Hrsg.)36/50 WVZ Schmied, Nr. 1329, Abb. Erläuterungen zum Katalog Rainer Kriester Deutschland Abstraktion Nachkriegskunst Objekte 1990er Kopf Skulptur Bronze Figur / Figuren KRIESTER, RAINER KRIESTER, RAINER 1935 Plauen - 2002 Vendone/Italy Title: Piccola porta. Date: 1999. Technique: Bronze, dark patinated on Measurement: 13,5 x 4cm. 3Notation: Signed and numbered underneath: KRIESTER 36/50. Next to it with the foundry mark:GIESSEREI ZIMMEREdition Kunsthaus Lübeck (publisher)36/50 Cat. rais. Schmied, no. 1329, ill. Explanations to the Catalogue Rainer Kriester Germany Abstraction Post-War Art Sculptures 1990s Head Sculpture Bronze Figure / Figures

PAEFFGEN, C.O. PAEFFGEN, C.O. Köln 1933 - 2019 Titel: Ohne Titel (Fragezeichen). Datierung: 1988-96. Technik: Holz, Lackfarbe, Draht und Pflasterstein. Maße: 105 x 42 x 5cm. Bezeichnung: Monogrammiert und datiert auf Stein seitlich: C.O.P. 88 96. Erläuterungen zum Katalog C.O. Paeffgen Deutschland Pop Art Nachkriegskunst Objekte 1980er Wort Objekt Holz PAEFFGEN, C.O. PAEFFGEN, C.O. (CLAUS OTTO) Cologne 1933 - 2019 Title: Untitled (Question Mark). Date: 1988-96. Technique: Wood, varnish, wire and cobblestone. Measurement: 105 x 42 x 5cm. Notation: Monogrammed and dated laterally on the stone: C.O.P. 88 96. Explanations to the Catalogue C.O. (Claus Otto) Paeffgen Germany Pop Art Post-War Art Sculptures 1980s Word Object Wood

Suetonius Tranquillus,C.Suetonius Tranquillus,C. De vita duodecim Caesarum libri XII. S Suetonius Tranquillus,C. Suetonius Tranquillus,C. De vita duodecim Caesarum libri XII. Strassburg, Johann Prüss d.J. August 1520. Gr.8°. Mit breiter figürlicher Holzschn.-Titelbordüre nach Urs Graf. (2), 154 Bl. Flex. Prgt. unter Verwendung einer mittelalterlichen Handschrift. (Fehlstelle am unteren Kapital später ergänzt, etwas knittrig, gebräunt, leicht fleckig, schwach berieb. u. best.). VD 16, S 10102. Proctor 10332. Ritter 2249. Vgl. Hieronymus 154 (zur Titelbordüre). Nicht bei Brunet oder Graesse. - Über das Leben des C. Suetonius Tranquillus besitzen wir nur spärliche Informationen, die wir nur aus dem Rahmen seiner Werke und aus einigen Plinius-Briefen entnehmen können. Im Jahre 121 n. Chr. wurde er in eine Intrige verstrickt und verliess den Hof, da er bei Kaiser Hadrian in Ungnade gefallen war. Die Kaiserbiographien sind seine am besten überlieferten Werke. Darin berichtet er über das Leben der ersten Kaiser Roms, von Caesar über Augustus, Tiberius, Caligula, Claudius, Nero, Vespasian, Titus bis hin zu Domitian. Sie sind nicht in einem einheitlichen Stil geschrieben, was damit zusammen hängen mag, dass er ein Universalgelehrter am Hof war und Zugang zu vielen Werken hatte. Prinzipiell ist der Stil eher schlicht und frei von Überladungen, letztendlich passte er aber seinen Stil teilweise der Art des jeweiligen Kaisers an, über den er schrieb. - Stellenweise feuchtrandig (vorne stärker) und leicht gebräunt, Titelei angestaubt, hinten etwas stockfleckig, die ersten Blatt mit Eselsohren, teils mit kleinen Fehlstellen in den Ecken. Insgesamt sauberes Exemplar. Alte hs. Besitzvermerke auf Titel und Vorsatz. Einige Marginalien und Anstreichungen von alter Hand. - Contains woodcut border after Urs Graf on titlepage. Flexible vellum binding using material of a medieval manuscript. Binding with traces of use, imperfection on spine modern renewed. Partly some waterstain in the margins (quite heavy at the beginning) and moderate browning, shopsoiling on title, some foxing at the end, the first few pages with creases, partly small imperfections in the corners. Handwritten names on title and fly-leaf, some old marginalia.

Kauffer, Edward McKnightKauffer, Edward McKnight (1890/91 Great Falls - New York City 1 Kauffer, Edward McKnight Kauffer, Edward McKnight (1890/91 Great Falls - New York City 1954) nach. Art of the Twenties. Farb. Plakat nach einem Plakat von 1927 zur Ausstellung im Museum of Modern Art, NY 1979-80. 99 x 62 cm. Tls. etw. lichtrandig u. randrissig, Heftlöcher i.d. Ecken, ob. Rd. tls. gestaucht. - +Dabei:+ 15 Bl. farb. Werbe- bzw. Kunst-Plakate, 20 Jh. Zw. 29 x 23,5 u. 84,5 x 62 cm. 1 Bl. 6x vorhanden. - Unter den Künstlern: Robert Watts, Valerio Adami, Eduardo Paolozzi, Toulouse-Lautrec, u.a. - Tls. Alters- u. Gebrauchssp. Zus. 17 Bl. MGR 1707

Norah McGuinness HRHA (1901-1980) Flight over Mulroy Oil on canvas, 51 x 76cm (20 x 30'') Signed Norah McGuinness's paintings of the coastline of Ireland were highly regarded in her lifetime and have since come to be recognised as amongst her most distinctive contribution to modern Irish landscape painting. Many depict the murky sandbanks of Dublin, where she lived. But she also had a studio at Rathmullan on the banks of Lough Swilly close to Co. Derry where she was from originally. While staying here she painted many scenes of Mulroy Bay in North Donegal, the earliest dating from the 1940s. Mulroy links Fanad Head and Rosguill Peninsula and is now spanned by a bridge but was connected by ferry for many years. Literally taking a bird's eye view the painting lays out the contours of the land and sea as seen from above. The shape of the coastline is simplified and the rocks, hills and shrubbery transformed into decorative elements within the flat patterning of the terrain. Soaring across this stylised landscape is a gull, its body extended outwards revealing its plumage and making it appear exotic. More detailed and focused than the ground beneath it, the juxtaposition of the bird and the land emphasise the two separate planes that each occupy. In this way McGuinness draws on her extensive understanding of design and her knowledge of cubism. The final painting was made in the studio, not en plein air, although the artist probably used drawings and sketches made at the scene as her initial inspiration. In the final painting the vagaries of the landscape are subsumed into a more controlled work of art. Subtle geometric patterning and blends of greens, greys and orange transform the natural world into a self-consciously modern painting. As in McGuinness's other Irish landscapes, she manages to make the familiar unfamiliar and present the Irish coastline as exotic and strangely contemporary. Dr. Roisin Kennedy

Nevill Johnson (1911-1999) Kilkeel (c.1946) Oil on canvas, 40 x 60cm (16 x 24'') Signed with monogram; inscribed verso Kilkeel was probably included in the first exhibition Nevill Johnson took part in with Victor Waddington in 1947, soon after he was taken on as a gallery artist. It belongs to a small group of paintings in which Johnson included the most appropriate of the driftwood, shells and stones he collected in the mid-1940s from the shores of Lough Neagh. Their arrangement suggests unease or struggle between these anthropomorphic forms into which human and animal life has been mutated by some apocalyptic event. Painted in response to the Second World War, this group of works also express a more profound consciousness of the fears and despair of the atomic age. This is the existential psychological landscape of the post-war world, at the edge of sea and land and illuminated in a mysterious, nocturnal glow, and there is an interesting comparison with Francis Bacon in the blurred, turning profile of the left-hand 'head' of the large driftwood form. S.B. Kennedy wrote of Johnson's paintings in this period that 'along with Jack B. Yeats' Tinker's Encampment: The Blood of Abel, 1940, Kenneth Hall's Après la Guerre and Middleton's Our Lady of Bikini [they] are amongst the most poignant images of war and its effects painted by any artist in Ireland in the modern period'. (S.B. Kennedy, 'Irish Art and Modernism 1880-1950', Irish Academic Press, Queen's University, Belfast, p.139) Dickon Hall

Banksy (British 1974-), 'Vandalism As Modern Art', 2018, offset lithograph, Beyond The Streets Exhibition poster; sheet: 58 x 83cm ARR

Brian Clarke (British, born 1953)Blue Computergram, 1981 each numbered (on the overlap)oil and screenprint on canvas, in eight partsEach: 76 x 76 cm.29 15/16 in.Overall: 152 x 304 cm.59 13/16 x 119 11/16 in.Footnotes:Provenance Private Collection, UK (a gift from the artist)ExhibitedLondon, The Royal Institute of British Architects, Brian Clarke: New Paintings, Constructions and Prints, 1981London, Robert Fraser Gallery, Brian Clarke, circa 1985Karuizawa, Sezon Museum of Modern Art, Brian Clarke: Paintings, 1976 - 1986, 1987Osaka, Yao Seibu Exhibition Hall, Brian Clarke: Paintings, 1976 - 1986, 1987LiteratureMartin Harrison, Brian Clarke, London 1981, pp. 73–76 and illustrated pp. 154, 155–156, 159 & 205Deanna Petherbridge, 'Art on architecture' in The Architects' Journal, London 1981Robert Hewison, 'From centre to punk' in The Times Literary Supplement , London 1981.Brian Clarke: Stained Glass (Microcosm), Tokyo 1987; pp. 26 & 41, illustratedSainsbury Centre for Visual Arts, The Art of Light, Norwich 2018; p. 23 and illustrated pp. 265–266This 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

Fausto Melotti (Italian, 1901-1986)Quattro coppette (Four little bowls) each signed with seven dots (on the base)glazed ceramica)circa 1960Diameter: 14.5 cm.5 11/16 in.Height: 6 cm.2 3/8 in.b)circa 1965Diameter: 14.1 cm.5 9/16 in.Height: 6.2 cm.2 7/16 in.c)circa 1955Diameter: 13.3 cm.5 1/4 in.Height: 5.4 cm.2 1/8 in.d)circa 1960Diameter: 13 cm.5 1/8 in.Height: 6.5 cm.2 9/16 in.Footnotes:This work is registered in the Fondazione Fausto Melotti, Milan, under no. CT 728, CT 729, CT 730 and CT 731.ProvenanceAngelo Ambrosini Collection, MilanThence by descent to the present ownerBorn in Rovereto in 1901, Fausto Melotti's work is not easily defined. Working as a sculptor, painter, poet, and ceramicist Melotti moved freely between abstraction and figuration and his work is linked to Futurism, Surrealism and Arte Povera amongst others. Having grown up in a musical family, he went on to study mathematics and physics at the University of Pisa and engineering, art and architecture at the University of Milan. Music remained an integral part of his life and its influence, along with his scientific expertise can be found throughout his practice. At 27 Melotti enrolled in the Accademia di Belle Arti di Brera in Milan where, in the Plastica della figura class of the prominent symbolist sculptor Adolfo Wildt, he met Lucio Fontana who would become a lifelong friend. Whilst both Fontana and Melotti went on to produce a considerable ceramic oeuvre, Melotti was long best known for his lithe metal sculptures and Teatrini (Mini Theaters or Puppet Theaters). Ceramics would only really become a main focus of his practice towards the end of the Second World War, after his studio was destroyed in the bombardments of Milan, initiating a period in which the artist would focus exclusively on the production of ceramic and terracotta works. His experimental and hugely prolific foray into the ductile and intriguing material resulted in bas reliefs, abstract vases, lustrous bowls and plates, ashtrays, small ceramic sculptures, and whimsical teatrinos and he frequently mixed ceramics with steel or iron. Highlighting the beautiful iridescent glazes so characteristic of Melotti's ceramics, the present collection of works wonderfully showcase his mastery of the medium and his acceptance that he would never be fully in control of the finished product. To work in ceramics, means to hand over part of the artistic process to the kiln and the fire and according to the artist, that was why many traditional sculptors shied away from the medium. The glazes in countless shades of blue and soft pinks are interlaced with metallic accents that enhance the elegant design and feel of their vessels and gives each pot a delicate, gem like quality. As stated by Melotti, 'For an artist, ceramic is a material like bronze or marble. Ceramic may even be a more fascinating material because of the mystery in which it is born from. [...] The adventure of the piece of ceramic that enters the oven amorphous and emerges in full party dress is the source of an exciting joy, an indefinite limit between sense and beauty. It's like a holiday trip into a world that is more fairy-like [féerique] than magical, a world where expressions like joy in work find value and meaning. (The artist in: Antonella Commellato, 'Lotta. Materia prepotente Cervello luminoso', in Antonella Commellato and Marta Melotti, Fausto Melotti. L'opera in ceramica, Milan 2003, p. 27)Melotti was an integral part of the artistic and intellectual fabric of post-war Italy. A contemporary of Alexander Calder, parallels can also be drawn between the sculptures of Alberto Giacometti and throughout his life he stood in regular artistic exchange with some of the most revered artists of the age, such as Lucio Fontana and Gio Ponti. Today, his work is held in the collections of The Museum of Modern Art in New York, the National Gallery of Art in Rome, and the Gori Collection in Pistoia, among many others.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Anton Rooskens (Dutch, 1906-1976)Figure and bird, 1973 signed and dated Rooskens 73 (lower right)gouache on paper50 x 60 cm.19 11/16 x 23 5/8 in.Footnotes:ProvenancePrivate Collection, EuropeSale: Christie's, Amsterdam, Modern and Contemporary Art, 4 June 1997, lot 169Galerie Mia Joosten, AmsterdamAcquired directly from the above by the present owner in 1998This 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

Ray Parker (American, 1922-1990)K7, 1970 signed and dated R. Parker 1970 (on the reverse)acrylic on canvas77.8 x 78.7 cm.30 5/8 x 31 in. Footnotes:ProvenanceGertrude Kasle Gallery, DetroitSale: Hindman, Chicago, Modern and Contemporary Art, 25 September 2013, lot 1050Acquired directly from the above by the present ownerFor further information on this lot please visit Bonhams.com

Cleve Gray (American, 1918-2004)Zen Gardens #22, 1982 signed, titled and dated Gray- '82 Zen Gardens #22 (on the reverse)acrylic on canvas107.5 x 178.1 cm.42 5/16 x 70 1/8 in. Footnotes:ProvenancePrivate Collection, PhiladelphiaSale: Freeman's, Philadelphia, Modern & Contemporary Art Auction, 2 November 2014, lot 61Acquired directly from the above by the present ownerFor further information on this lot please visit Bonhams.com

Byron Browne (American, 1907-1961)Africana, 1950-1951 signed and dated Byron Browne 1950-51 (lower left); signed, titled and dated Byron Browne 1950-51 -Africana- (on the reverse)oil and collage on canvas61.3 x 76.3 cm. 24 1/8 x 30 1/16 in.Footnotes:ProvenanceCollection Mr & Mrs Barney O'HaraGallery Schlesinger-Boisanté, New YorkSale: Auctionata, New York, Modern & Contemporary Art, 20 November 2015, lot 118Acquired directly from the above by the present ownerExhibitedNew York, Gallery Schlesinger-Boisanté, Byron Browne: Ten Paintings of the 1950's, 1986New York, Nassau County Museum of Fine Art, Byron Browne: Paintings and Drawings from the 30's, 40's & 50's, 1987, no. 54, illustratedFor further information on this lot please visit Bonhams.com

Genieve Figgis (Irish, active 1972)Adam and Eve Archival pigment giclée print in colours, 2019, on Hahnemühle Archival Fine Art paper, signed, dated and numbered 91/150 in pencil, published by the Irish Museum of Modern Arts, Dublin, on the occasion of the artist's exhibition 'Desire: A Revision' in 2019-20, the full sheet, 692 x 565mm (27 1/4 x 22 1/4in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sir Howard Hodgkin (British, 1932-2017)Put Out More Flags (Heenk 90) Lift-ground etching, aquatint and carborundum in colours, with hand-colouring, 1992, on heavy wove, signed with the initials, dated and numbered 67/75 in pencil, printed and hand-coloured by Jack Shirreff at the 107 Workshop, Wiltshire, published by the Modern Art Museum of Fort Worth, Texas, the full sheet printed to the edges, 450 x 550mm (17 3/4 x 21 5/8in)(SH)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Dafforne (James) Modern Art, A Series of Line Engravings from the Works of Distinguished Painters .. Selected from Galleries and Private Collections in Great Britain. lg. atlas folio L. (Virtue & Co.) n.d. red & bl. title, & 56 full page engd. plts. (ex. 60), a.e.g., full heavy hf. crimson mor. (1)

Modern Design, Furniture, Art etc: Koch (Alexander) Handbuch Neuzeitlicher Wohungskultur, 3 vols. sm. folio Darmstadt 1912 - 1913, decor. titles, profusely illustrated orig. gilt decor & block design vellum boards by E. Margold, good. Scarce. (3)

In a Sangorski and Sutcliffe BindingBinding: Colin (P.) Master of Modern Art, Van Gogh, 4to, L. (J. Lane) 1926, dedit, illustrated, decorative end papers, hf. calf, decor. boards, ornate panels depicting painters, pallets and mor. label. Ex. Libris Roy Mc Williams. Desirable Example. (1)

Mc Knight Kauffer (E.) The Art of the Poster, its Origin, Evolution & Purpose. Folio L. 1924. First Edn., fine cold. & other illus., cloth & d.w.; Jones (Sydney R.) Art and Publicity Fine Printing and Design, Sm. folio L. (The Studio 1925) First, cloth; Posters & Publicity Fine Printing and Design 'Commercial Art' Annual, folio L. 1928, illus. cloth; The Modern Sign Writer, folio Manchester n.d. c. 1930; & 2 others sim. As a lot, w.a.f. (6)

[Brangwyn (Frank)] Hutton (Ed.) The Pageant of Venice, lg. 4to L. (John Lane) 1922. First Edn., cold. plts. & illus. by F. Brangwyn; Windmills, by Frank Brangwyn & Hayter Preston, 4to (J. Lane) 1923. First Edn., cold. plts.; Furst (H.) The Decorative Art of Frank Brangwyn, lg. 4to L. (J. Lane) 1924. First Edn., cold. plts. thro-out, all orig. cloth; also Two Modern Carpets Designed by Frank Brangwyn R.A., made by Jas. Templeton & Co., Glasgow. (4)

Adam Barnsby, by and after, Lovers Return, 38cm x 59cm, limited edition 17/225, framed; a modern fishing diorama; Modern Art, Geometrics, pencils, 19cm x 12cm; etc

Heinrich VogelerAn den Frühling Mappenwerk mit 10 Original-Radierungen, teils mit Aquatinta, in Grün bzw. Schwarzgrün auf heller Atlasseide, jeweils fest in Original-Passepartout montiert Je 15,7 x 15,7 cm (Sichtmaß inkl. dem Plattenrand) Jeweils auf der Passepartout-Maske mit Bleistift signiert 'HVogeler' (ligiert) und mit dem Künstlersignum (Wappenschild) versehen sowie links unten nummeriert '1.' Exemplar 1 von 10 der nummerierten Vorzugsausgabe. Die Radierungen mit dem gedruckten, in Grün und Gelb kolorierten Titelblatt (rückseitig mit dem Druckvermerk) lose in Ganzpergament-Mappe (35,8 x 27,2 x 4,1 cm). Die Mappe vorderseitig mit der Prägung des von Peter Behrens entworfenen Insel-Signets. Gedruckt von Otto Felsing, Berlin, erschienen im Insel Verlag, bei Schuster & Loeffler, Berlin 1899. - Ohne das bestickte, seidene Einschlagtuch. - Die Radierungen in sehr guter Erhaltung, die Passepartout-Kartons leicht gebräunt mit Braunflecken, Das Titelblatt stärker gebräunt. Die Pergamentmappe mit leichten Altersspuren, minimal verzogen. - Beiliegend der originale, defekte Schutzkarton der Ausgabe.Rief 24 - 33, jeweils II.a.1.ProvenienzGeschenk des Künstlers an seine Schwägerin Erna Vogeler, geb. Uhl, seitdem in FamilienbesitzLiteraturHeinz Sarkowski, Der Insel-Verlag. Eine Bibliographie 1899-1969, Leipzig 1970, Nr. 1841; Theo Neteler, Der Buchkünstler Heinrich Vogeler. Mit Bibliographie, Fischerhude 1991 bzw. Ascona/Unterreit 1998, Nr. II, 22Heinrich Vogelers Radierungen entfalten eine locker verbundene Folge von landschaftlichen Motiven rund um den Barkenhoff in Worpswede, die zyklisch einen Tag zu umfassen scheinen. Die Mappe umfasst die 10 Graphiken "Die Lerche", "Frühlingsmorgen", "Um Mittag", "Frühlingsblumen", "Froschbraut", "Der Fischer", "Storch überm Weiher", "Vor Feierabend", "Die Amsel" und "Märznacht".Die bildnerische Poesie des Künstlers gestattet sich dabei alle Freiheiten der Erfindung und der kreativen Umschreibung. Dem in der Natur allenthalben erwachende Frühling widmen sich diese stilisierten Impressionen - von der frühen Begegnung des Künstlers mit der über dem flachen Land jubilierenden Lerche bis zum Funkeln der Sterne über dunklem Gehöft in einer glasklaren, noch kalten, Märznacht. "An den Frühling", 1899 zu Weihnachten erschienen, ist ein Meisterwerk der graphischen Kunst und bleibt ein charakteristisches Beispiel für die eigentümliche Spielart des Symbolismus im deutschen Jugendstil, den Heinrich Vogeler maßgeblich und wegweisend mit initiierte. Seine ästhetischen Konzepte nährten sich aus vielen Quellen. Romantisches mischte sich mit Biographischem, bildkünstlerische Ideale mit Literarischem, englisches Präraphaelitentum mit Japonismus. Die in der Mappe herausgestellten Naturmotive mögen uns in ihrer Auswahl allerdings heute beispielhaft und von prophetischer Bedeutung erscheinen. Sie stehen hinsichtlich allenthalben drohender Verluste weniger für artifizielle und imaginierte, sondern für tatsächlich bedrohte, irdische Paradiese.Im Zusammenhang mit den Bestrebungen um eine moderne Reform künstlerischer Buchgestaltung und Buchillustration in seiner Zeit ist die Herausgabe der Mappe "An den Frühling“ wesentliches Programm. In der heute höchst seltenen, handgefertigten Vorzugsausgabe mit ihren ausgesuchten Materialien ist sie zudem eine der frühesten bibliophilen Ausgaben des legendär gewordenen Insel-Verlages und als graphisches Gesamtkunstwerk intendiert. Heinrich VogelerAn den Frühling Portfolio with 10 etchings, partly with aquatint, in green resp. black green on light Atlas silk, each firmly mounted in original mat Each 15.7 x 15.7 cm (visible dimensions incl. plate margin) Each signed on mat in pencil 'HVogeler' (joined) and with artist's mark (heraldic shield) as well as numbered '1.' lower left. Exemplar 1 of 10 from the numbered deluxe edition. The etchings with the printed title sheet (verso with imprint) coloured in green and yellow loosely in all-parchment portfolio (35.8 x 27.2 x 4.1 cm). The front side of the portfolio with embossed Insel signet designed by Peter Behrens. Printed by Otto Felsing, Berlin, published by Verlag der Insel, at Schuster & Loeffler, Berlin 1899. - Without the embroidered silken cloth cover. - The etchings in very fine condition, the mat cards lightly browned with brown stains, the title sheet browned somewhat more. The parchment portfolio with slight traces of age, minimally deformed. - Enclosed the original, defect protective box of the edition.Rief 24 - 33, each II.a.1.ProvenanceGift from the artist to his sister-in-law Erna Vogeler, née Uhl, since then in family possessionLiteratureHeinz Sarkowski, Der Insel-Verlag. Eine Bibliographie 1899-1969, Leipzig 1970, no. 1841; Theo Neteler, Der Buchkünstler Heinrich Vogeler. Mit Bibliographie, Fischerhude 1991 resp. Ascona/Unterreit 1998, no. II, 22Heinrich Vogeler's etchings develop a loosely connected series of landscape motifs which are centred around the Barkenhoff in Worpswede and seem to cyclically encompass a day. The portfolio comprises the prints: “Die Lerche”, “Frühlingsmorgen”, “Um Mittag”, “Frühlingsblumen”, “Froschbraut”, “Der Fischer”, “Storch überm Weiher”, “Vor Feierabend”, “Die Amsel” and “Märznacht”. Here the artist's visual poetry permits itself every liberty in terms of invention and creative paraphrase. These stylised impressions are devoted to spring's omnipresent awakening in nature - from the artist's early encounter with the lark rejoicing above the flat landscape to the twinkling of the stars above the dark farmstead on a glass-clear and still-cold night in March. “An den Frühling” was published at Christmas in 1899: it is a masterpiece of the art of printmaking and remains a characteristic example of the distinctive variation of Symbolism within German Jugendstil, which Heinrich Vogeler decisively and formatively helped to initiate. His aesthetic concepts were nourished by many sources. Romantic elements mix with biographical ones, visual-art ideals with literary elements, English Pre-Raphaelitism with Japonisme. Today as well, however, the selection of natural motifs singled out in the portfolio may appear exemplary and of prophetic significance. In view of the menacing losses all around us, they stand not so much for artificial and imagined paradises, but for actually endangered earthly ones. In connection with the efforts made to establish a modern reform of artistic book design and illustration in his period, the publication of the portfolio “An den Frühling” was substantially programmatic. In the now extremely rare, handmade special edition made with select materials, it is additionally one of the earliest bibliophile editions of the Insel publishing house, which would become legendary, and it is intended in the sense of a graphic Gesamtkunstwerk, or total work of art.

Rolf CavaelNo. 61/S2 Öl auf Leinwand 61 x 50,1 cm Gerahmt. Unten rechts schwarz monogrammiert 'CA' (ligiert) sowie rückseitig schwarz signiert, bezeichnet und datiert 'CAVAEL No 61/S2'. - Die Leinwand minimal wellig.Nicht bei KellerWir danken Claudia Mindak, Hohen Neuendorf, für die Bestätigung des Werks. Das Gemälde ist im Archiv des Nachlasses verzeichnet.ProvenienzVan Ham Kunstauktionen, Köln, Modern and Contemporary Art, 30. Mai 2001, Lot 388; Privatsammlung, Rheinland Rolf CavaelNo. 61/S2 Oil on canvas 61 x 50.1 cm Framed. Monogrammed 'CA' (joined) in black lower right and verso signed, inscribed, and dated 'CAVAEL No 61/S2' in black. - The canvas minimally wavy.Not recorded by KellerWe would like to thank Claudia Mindak, Hohen Neuendorf, for confirmation of the work. The painting is registered in the archive of the estate.ProvenanceVan Ham Kunstauktionen, Cologne, Modern and Contemporary Art, 30 May 2001, lot 388; Private collection, Rhineland

Francis PicabiaPaysage Öl über Bleistift auf Karton 18,8 x 28 cm Unter Glas gerahmt. Unten rechts schwarz signiert 'Francis Picabia'. - Fest auf Unterlageplatte montiert, sonst in schönem Erhaltungszustand.Camfield/Calté/Clements/Pierre 1528ProvenienzSuzanne Romain, Paris (1953-1965, beim Künstler erworben); Privatsammlung (vor 1991), Privatsammlung (bis 2003), Privatsammlung Paris (2003-2005); Hotel des Ventes, Arcachon, Auktion 27. November 2005; Sotheby's Olympia, Impressionist & Modern Art, 11. Juli 2006, Lot 33; Privatsammlung, Norddeutschland Francis PicabiaPaysage Oil over pencil on card 18.8 x 28 cm Framed under glass. Signed 'Francis Picabia' in black lower right. - Firmly mounted to supporting board, otherwise in fine condition.Camfield/Calté/Clements/Pierre 1528ProvenanceSuzanne Romain, Paris (1953-1965, acquired from the artist); Private collection (before 1991), Private collection (until 2003), Private colelction Paris (2003-2005); Hotel des Ventes, Arcachon, Auction 27 November 2005; Sotheby's Olympia, Impressionist & Modern Art, 11 July 2006, lot 33; Private collection, North Germany

A modern 9ct white gold emerald and diamond cluster panel ring, in Art Deco style, total diamond content approx 0.35ct, emerald-cut emerald approx 2.45ct, dimensions: length - 9.58mm, width - 7.01mm, depth - 4.98mm, size J, 5.6gVery good overall condition, all stones present, emerald displays typical internal inclusions but otherwise quite clean, diamonds bright white and fiery, settings nicely polished, hallmarks clear, stamped 375

A collection of five modern painted cast metal signs in the Art Deco manner "Office, "Men", "Toilet", "Ladies", "Private"

A collection of items to include a modern art deco style simulated alumunium lamp as a semi naked dancer, a set of six Edinburgh crystal cut glass tumblers and four similar, a cut glass decanter, a mahogany cased Mahjong set with instruction manual, a copper cooking pan with iron handles and an indian white metal cruet etc

Mark Rothko print " untitled 1960 " San Francisco Museum of Modern Art 26 x 33.5 inches

A QUARTET OF MODERN ART METAL MUSICIANS

with benign expression and high eyebrows, wearing a diadem with five lappets, on modern metal display stand, 17.5cm highFootnote: Exhibited: London, Oriental Arts Ltd, Chinese Buddhist Sculpture,18-27 March 2001, no. 8 Literature: Buddhist Imagery Art at Longxing Temple of Qinqzhou, no. 151. The Chinese Buddhist statuary and associated collection was acquired by C Roger Moss OBE in Hong Kong during the period 1980 to 2003. All items were officially exported from Hong Kong by shippers and handlers recommended and approved by the Mass Transit Railway Corporation of Hong Kong on 10th May 2003, with full documentation. Itemised inspection certificates - dated 24th February, 16th and 23rd April and 7th May 2003 (report No 0254/03) by J & H Surveying Co Ltd, Marine Surveyors - number and detail the items exported. A copy is available at Cheffins’ offices. The shipment arrived in Felixstowe, UK on 29th May 2003 and was received for transhipment by Redfern International Logistics of Leeds, recorded in their sales invoice no. IDSI2926, which details fees paid for the appropriate Sea Import Customs and Sea Import Documentation. The dating of Chinese sculpture is notoriously difficult and all such references in this catalogue are based entirely upon style and should not be relied on as a statement of fact. Regarding the stone carvings in the Moss Collection, these lots may only be bought and sold within the UK/EU. Buyers wishing to export items should make the appropriate checks before bidding. The auctioneers cannot be held responsible for any future liabilities associated with authentication or for export outside of the UK/EU 1980年至2003年期间，C Roger Moss OBE在香港购买了中国佛教佛像及相关藏品。所有物品均由香港地下铁路公司于2003年5月10日推荐并批准的托运和装卸机构从香港正式出口，并附有完整的单据。逐项检验证书-由海洋测量师J＆H Surveying Co Ltd于2003年2月24日，4月16日，23日和5月7日签发（报告号0254/03），对出口的物品进行编号和详细说明。您可以在Cheffins拍卖行获取一份副本。这批货物于2003年5月29日到达英国费利克斯托，并被利兹的Redfern International Logistics转运，记录在其销售发票中- IDSI2926，其中详细囊括了这次海关进口细节和相关文件的支付费用。众所周知，我们很难判定中国雕塑的历史时期，本目录中的所有相关参考文献均取决于它们的风格，因此买家不应作为事实陈述。 关于这次Moss Collection中的石雕，这批拍品只允许在英国/欧盟境内被出售或购买。 买家需要在投标前自行进行相关的出口检查与认证。 Cheffins概不承担任何法律责任或提供英国/欧盟地区以外的出口认证。

Modern Moorcroft art pottery dish with tube lined floral decoration. Impressed marks to base with monogram. 12cm diameter approx, with original box.(B.P. 21% + VAT) No obvious damage.

MODERN ART DECO STYLE FAN SHAPED MIRROR (1 PANEL DAMAGED)

Serge PoliakoffComposition abstraite Öl auf Leinwand 92 x 73 cm Gerahmt. Unten links weiß signiert 'SERGE POLIAKOFF'. - Oberflächlich minimal verschmutzt. Ansonsten in tadelloser Erhaltung.A. Poliakoff 48-43Mit einer Foto-Expertise von Alexis Poliakoff, Paris, vom 13.7.1997ProvenienzMax Welti, Zürich; Galerie Michael Haas, Berlin (rückseitiges Keilrahmenetikett); Lempertz Köln, Kunst des XX. Jahrhunderts, Auktion 634, 8.12.1988, lot 834; Galerie Sander, Darmstadt (1997); Privatbesitz HessenAusstellungenZürich 1967 (Kunsthaus), Spektrum der Farbe. Eine Zürcher Privatsammlung (Max Henri Welti), Kat. Nr. 182; Berlin 1983 (Galerie Michael Haas), Aus den Beständen der Galerie, Kat. Nr. 18 mit Farbabb.Ende der 1940er Jahre fand Serge Poliakoff seine eigene, unverwechselbare Bildsprache in der Abstraktion, nicht ausgehend von theoretischen Konzepten, sondern individuellen, emotionalen Erkenntnissen. „Es muss eine Ahnung unendlichen Formenreichtums gewesen sein, die den immerhin bereits 47jährigen Poliakoff dazu veranlasst hat, sich ohne jeden Kompromiss auf ein zugleich begrenztes wie unerschöpfliches Feld bildnerischer Möglichkeiten einzulassen. Nie sind Zweifel oder ein Streben nach neuen Ufern spürbar. Die stets sprudelnde Quelle seiner Bildfindungen belegt die hohe Tragfähigkeit seiner Konzeption. Weder erstarren seine Werke in geometrischer Strenge noch verharren sie in einem analytischen Konstruktivismus. […] Diese strukturellen Eigenschaften seiner Malerei stehen in unmittelbarer Beziehung zum großen musikalischen Talent Poliakoffs. Dem Gitarristen mit drei Jahrzehnten Berufserfahrung waren die Musiktheorie klassischer und moderner Musik selbstverständlich geläufig.“ (Nils Ohlsen, in: Serge Poliakoff. Retrospektive, Ausst. Kat. Kunsthalle Emden/Kunsthalle der Hypo-Kulturstiftung München, München 2007, S. 31f.). Die vorliegende „Composition abstraite“ ist in den erdigen Tönen gehalten, die die meisten seiner frühen abstrakten Werke prägen. Im Gegensatz zu der sehr flächenbetonten Bildsprache, die ab den 1950er Jahren sein Oeuvre beherrscht, bestimmen hier freie, gestisch gesetzte Konturen die Komposition, die sich tiefenräumlich auszudehnen scheint. Weiße, gelbe und dunkelbraune Linien sowie tonal ähnliche Flächen überlagern und durchkreuzen sich zu einem auf die Bildmitte konzentrierten Geflecht. Serge PoliakoffComposition abstraite Oil on canvas 92 x 73 cm Framed. Signed 'SERGE POLIAKOFF' in white lower left. - Superficially minimally soiled. Otherwise in perfect condition.A. Poliakoff 48-43With a photo-certificate by Axlexis Poliakoff, Paris, dated 13.7.1997ProvenanceMax Welti, Zurich; Galerie Michael Haas, Berlin (label verso on stretcher); Lempertz Cologne, 20th century art, auction 634, 8.12.1988, lot 834; Galerie Sander, Darmstadt (1997); Private possession, HesseExhibitionsZurich 1967 (Kunsthaus), Spektrum der Farbe. Eine Zürcher Privatsammlung (Max Henri Welti), cat. no. 182; Berlin 1983 (Galerie Michael Haas), Aus den Beständen der Galerie, cat. no. 18 with colour illus.In the late 1940s Serge Poliakoff found his own unmistakable visual idiom in abstraction - preceding not from theoretical concepts but individual, emotional insights. “It must have been a sense of the infinite wealth of forms which led Poliakoff - who was, after all, already 47 years old - to occupy himself entirely without compromise with a simultaneously limited and inexhaustible field of artistic possibilities. We never sense doubts or a search for new shores. The constantly bubbling wellspring of his pictorial inventions demonstrates the great capacity of his conception. His works neither become frozen in geometric rigour nor do they linger in an analytical constructivism. […] These structural qualities of his painting are directly connected with Poliakoff's great musical talent. The guitarist with three decades of professional experience was, of course, familiar with the musical theory of classical and modern music. […].” (Nils Ohlsen, in: Serge Poliakoff. Retrospektive, exhib. cat. Kunsthalle in Emden/Kunsthalle der Hypo-Kulturstiftung München, Munich 2007, p. 31f.). The “Composition abstraite” here is done in the earthy tones that characterise most of his early abstract works. In contrast to the emphatically two-dimensional visual idiom that dominated his oeuvre from the 1950s onwards, here free and gestural contours define the composition, which seems to extend in depth. White, yellow and dark brown lines as well as tonally similar planes overlap and intersect into a web concentrated towards the centre of the picture.