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Picasso, Pablo1881 Malaga - 1973 MouginsVase with bunch. 1956. White earthenware clay, partly oxidised, polychromed and glazed. 25 x 24.5 x 2.5cm. Numbered underneath: 28/200. As well as stamped: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Number 28/200. Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 304, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Flowers Ceramic Earthenware Still LifePicasso, Pablo1881 Malaga - 1973 MouginsVase with bunch. 1956. Weißes Steingut, partiell oxidiert, farbig gefasst und glasiert. 25 x 24,5 x 2,5cm. Nummeriert auf der Unterseite: 28/200. Sowie Stempel: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Ex. 28/200. Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 304, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Blumen Keramik Steingut Stillleben- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsHen subject. 1955. White earthenware clay, polychromed and glazed. 12.5 x 10 x 17.5cm. Inscribed underneath: EDITION PICASSO MADOURA. As well as stamp: MADOURA PLEIN FEU EDITION PICASSO. From an edition of 500 copies.Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,cat.rais.-no. 250, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Animal Object EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsHen subject. 1955. Weißes Steingut, farbig gefasst und glasiert. 12,5 x 10 x 17,5cm. Bezeichnet auf der Unterseite: EDITION PICASSO MADOURA. Sowie Stempel: MADOURA PLEIN FEU EDITION PICASSO. Aus einer Auflage von 500 Exemplaren.Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988,WVZ.-Nr. 250, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Tier Objekt Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. White earthenware clay, partly polychromed and glazed. Ø 22.5 x 2.5cm. Inscribed and numbered underneath: K 112, 170/300. As well as stamp: MADOURA PLEIN FEU and EMPREINTE ORIGINALE PICASSO. Number 170/300. Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 305, with colour ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Figure / Figures Ceramic Earthenware BullsPicasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. Weißes Steingut, partiell farbig gefasst und glasiert. Ø 22,5 x 2,5cm. Bezeichnet und nummeriert auf der Unterseite: K 112, 170/300. Sowie Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE PICASSO. Ex. 170/300. Provenienz: - Privatsammlung HessenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ-Nr. 305, mit Farbabb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Figur / Figuren Keramik Steingut Stiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. White earthenware clay, polychromed and partly glazed. 2.5 x diameter 25.5cm. Numbered underneath: 149/200. As well as inscribed: K 113. Above this the stamps : MADOURA PLEIN FEU and EMPREINTE ORIGINALE DE PICASSO. Number 149/200. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 112, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Animal Object PorcelainPicasso, Pablo1881 Malaga - 1973 MouginsGoat's head in profile. 1950. Weißes Steingut, farbig gefasst und partiell glasiert. 2,5 x Durchmesser 25,5cm. Nummeriert auf der Unterseite: 149/200. Sowie bezeichnet: K 113. Darüber die Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO. Ex. 149/200. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 112, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Tier Objekt Porzellan- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsBull's profile. 1956. White earthenware clay, partly oxidised and glazed. 25 x 25 x 2.5cm. Stamped underneath: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. From an edition of 450 copies.Provenance:- Private collection HesseLiterature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 317, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic Earthenware AnimalsPicasso, Pablo1881 Malaga - 1973 MouginsBull's profile. 1956. Weißes Steingut, partiell oxidiert und glasiert. 25 x 25 x 2,5cm. Gestempelt auf der Unterseite: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Aus einer Auflage von 450 Exemplaren.Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 317, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsLittle face no. 12. 1963. White earthenware clay, partly polychromed and glazed (underneath). 2 x Ø 25cm. Inscribed and numbered underneath: No 12 EDITION PICASSO 72/150 MADOURA. Number 72/150. Provenance:- Private collection North Rhine-WestphaliaLiterature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 460, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1960s Face Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsLittle face no. 12. 1963. Weißes Steingut, partiell farbig gefasst und glasiert (Unterseite). 2 x Ø 25cm. Bezeichnet und nummeriert auf der Unterseite: No 12 EDITION PICASSO 72/150 MADOURA. Ex. 72/150. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 460, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1960er Gesicht Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsFace no. 46. 1963. White earthenware clay, partly polychromed and partly glazed. 2 x Ø 25.5cm. Inscribed and numbered underneath: No 46 EDITION PICASSO 114/150 MADOURA. Number 114/150. Literature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 466, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1960s Face Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsFace no. 46. 1963. Weißes Steingut, partiell farbig gefasst und partiell glasiert. 2 x Ø 25,5cm. Bezeichnet und nummeriert auf der Unterseite: No 46 EDITION PICASSO 114/150 MADOURA. Ex. 114/150. Literatur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 466, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1960er Gesicht Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. White earthenware clay, partly polychromed, partly glazed. 2.5 x Ø 22cm. Numbered underneath: 70/200. As well as stamp: MADOURA PLEIN FEU and EMPREINTE ORIGINALE DE PICASSO. Number 70/200. Literature: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, cat.rais.-no. 201, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic EarthenwarePicasso, Pablo1881 Malaga - 1973 MouginsPicador. 1953. Weißes Steingut, partiell farbig gefasst, partiell glasiert. 2,5 x Ø 22cm. Nummeriert auf der Unterseite: 70/200. Sowie Stempel: MADOURA PLEIN FEU und EMPREINTE ORIGINALE DE PICASSO. Ex. 70/200. Literatur: - Ramié, Alain: Picasso - Catalogue of the edited ceramic works 1947-1971, Paris 1988, WVZ.-Nr. 201, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Picasso, Pablo1881 Malaga - 1973 MouginsPicador and bull. 1953. White earthenware clay, partly oxidised/enamelled. 25.5 x 25 x 2cm. Stamped underneath: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. From an edition of 200 copies.Literature:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, cat.rais.-no. 194, ill. Explanations to the CataloguePablo Picasso Spain Modern Art Sculptures 1950s Bulls Ceramic Earthenware Figure / FiguresPicasso, Pablo1881 Malaga - 1973 MouginsPicador and bull. 1953. Weißes Steingut, partiell oxidiert/emailliert. 25,5 x 25 x 2cm. Gestempelt auf der Unterseite: MADOURA PLEIN FEU, EMPREINTE ORIGINALE DE PICASSO. Aus einer Auflage von 200 Exemplaren.Provenienz: - Privatsammlung Hessen Literatur:- Ramié, Alain: Picasso - Catalogue of the edited ceramic works, 1947-1971, Vallauris 1988, WVZ.-Nr. 194, Abb. Erläuterungen zum KatalogPablo Picasso Spanien Kubismus Surrealismus Moderne Kunst Objekte 1950er Stiere Keramik Steingut Figur / Figuren- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Radziwill, Franz1895 Strohhausen/Wesermarsch - 1983 WilhelmshavenStillleben mit Petroleumlampe. 1962. Oil on wood. 51 x 67cm. Signed lower left: Franz Radziwill. Inscribed on verso with serial no. of the artist: 554. Artist's frame. We want to thank Prof. Dr. Dr. Gerd Presler for the kind support.Provenance: - Susanne von Rothkirch und Panthken, Wiesbaden (purchased from the artist) - Private collection South Germany- Private collection North GermanyExhibitions:- Fa. Wöhr Eisenwerke, Bremen 1959- Kunsthandlung Ursula Voigt, Bremen 1963, ill.- Städtisches Gustav-Lübcke-Museum, Hamm 1965, cat.-no. 128 - Edgar Ende und Franz Radziwill, Frankfurt a.M. 1966Literature: - Firmenich, Andrea/Schulze, Rainer W.: Franz Radziwill, 1895 bis 1983 - Monographie und Werkverzeichnis, Cologne 1995, cat.rais.-no. 759, ill.- Handwritten Catalogue Raisonné by the artist, cat.rais.-no. 554 (unpublished). Explanations to the CatalogueFranz Radziwill Germany Modern Art 1960s Still Life Painting OilRadziwill, Franz1895 Strohhausen/Wesermarsch - 1983 WilhelmshavenStillleben mit Petroleumlampe. 1962. Öl auf Holz. 51 x 67cm. Signiert unten links: Franz Radziwill. Bezeichnet verso mit Werk-Nr. des Künstlers: 554. Künstlerrahmen. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die freundliche Unterstützung.Provenienz: - Susanne von Rothkirch und Panthken, Wiesbaden (vom Künstler erworben) - Privatsammlung Süddeutschland - Privatsammlung NorddeutschlandAusstellungen: - Fa. Wöhr Eisenwerke, Bremen 1959- Kunsthandlung Ursula Voigt, Bremen 1963, Abb. - Städtisches Gustav-Lübcke-Museum, Hamm 1965, Kat.-Nr. 128 - Edgar Ende und Franz Radziwill, Frankfurt a.M. 1966Literatur: - Firmenich, Andrea/Schulze, Rainer W.: Franz Radziwill, 1895 bis 1983 - Monographie und Werkverzeichnis, Köln 1995, WVZ.-Nr. 759, Abb. - Handgeschriebenes Werkverzeichnis des Künstlers, WVZ.-Nr. 554 (unveröffentlicht)Franz Radziwill hat 848 Gemälde geschaffen. Gut ein Drittel davon sind: STILLLEBEN. Das erste entstand schon 1919/1920: "Stillleben mit Kaffeekanne". (Werknummer 12) Und kurz bevor ihm Anfang der 70er Jahre seine Augen den Dienst versagten, stand das "Stillleben mit braunem Topf und blauer Kanne" auf der Staffelei. Es trug die Werknummer 847.Radziwills "Stillleben" sind so still nicht. In ihnen verdichtet sich die Fülle des Wahrgenommenen, des Gesehenen und des - Geschauten. Hier: Das "Stillleben mit Petroleumlampe" von 1962 sammelt die Fülle dessen, was der Maler in diesem mit eigenen Möglichkeiten ausgestatteten Bereich schöpferischen Handelns niederschrieb. Oft spiegelt sich das, was unbeachtet am Rande steht: Ein Apfel, eine Zitrone, ein Korb, ein Krug, zwei Scheiben Brot, eine Petroleumlampe und eine Kerze. Zugleich ereignet sich dies vor einem Grün, das in alle Tiefen führt.Franz Radziwill hat ein handgeschriebenes Werkverzeichnis geführt. Dort erhielt diese Arbeit unter der Nummer 554 den Titel: "Unsere alte Lampe." (Abb.) Ein solcher Eintrag zeigt den ganzen Franz Radziwill: Er lässt den Betrachter ein in seine unmittelbare Nähe; sitzt mit ihm an einem Tisch nahe "unserer Lampe", umgeben von den Gegenständen eines vertrauten Alltags. Und dann ist da zugleich etwas "Unwirkliches", ja "Unheimliches". Es verbirgt sich, lauert als Bedrohung hinter den Dingen: Ein rätselhaftes Gebilde schlängelt sich aus der Nähe in eine andere schwarz-dunkle Dimension. Das Vertraute wandelt sich und entlässt jene Zeichen, die auf den "instabilen Untergrund" (Werner Haftmann) der Welt weisen. Franz Radziwill, der magische Realist. (Gerd Presler). Erläuterungen zum KatalogFranz Radziwill Deutschland Neue Sachlichkeit Phantastischer Realismus Moderne Kunst Unikate 1960er Stillleben Gemälde Öl- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Rohlfs, Christian1849 Niendorf - 1938 HagenBaum am Hang. 1921. Tempera on laid card. 62 x 51.5cm. Monogrammed and dated lower right: CR 21. Inscribed on verso: Dr. Jacobsohn, Erfurt. Framed. Provenance:- Private collection- Villa Grisebach, auction Berlin 12.6.2004, lot 225- Private collection Hesse. Explanations to the CatalogueChristian Rohlfs Germany Modern Art 1920s Landscape Works on paper Tempera TreesRohlfs, Christian1849 Niendorf - 1938 HagenBaum am Hang. 1921. Tempera auf Büttenkarton. 62 x 51,5cm. Monogrammiert und datiert unten rechts: CR 21. Bezeichnet verso: Dr. Jacobsohn, Erfurt. Rahmen. Provenienz:- Privatsammlung- Villa Grisebach, Auktion Berlin 12.6.2004, Los 225- Privatsammlung Hessen. Erläuterungen zum KatalogChristian Rohlfs Deutschland Expressionismus Norddeutscher Expressionismus Moderne Kunst Unikate 1920er Landschaft Papierarbeit Tempera Bäume- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium

Schmidt-Rottluff, Karl1884 Rottluff - 1976 Berlin"Citronen u. Flasche". 1940s/1950s. Watercolour on Schoeller card (blind stamp). Laid down on cardboard (71.5 x 57cm). 65 x 49.5cm. Signed upper left: S-Rottluff. Further titled on verso: Citronen u. Flasche. Framed. This work is documented in the archive of the Karl und Emy Schmidt-Rottluff Foundation in the Brücke-Museum Berlin. We thank Mrs. Remm for her kind support. Provenance:- Private collection North Rhine-Westphalia. Explanations to the CatalogueKarl Schmidt-Rottluff Germany Modern Art 1940s Still Life Works on paper Watercolour FruitsSchmidt-Rottluff, Karl1884 Rottluff - 1976 Berlin"Citronen u. Flasche". 1940er/1950er Jahre. Aquarell auf Schoeller-Karton (Trockenstempel). Auf Karton aufgezogen (71,5 x 57cm). 65 x 49,5cm. Signiert oben links: S-Rottluff. Zudem verso betitelt: Citronen u. Flasche. Rahmen. Das Werk ist im Archiv der Karl und Emy Schmidt-Rottluff-Stiftung im Brücke-Museum Berlin dokumentiert. Wir danken Frau Remm für die freundliche Unterstützung. Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogKarl Schmidt-Rottluff Deutschland Expressionismus Die Brücke Berliner Sezession Moderne Kunst Unikate 1940er Stillleben Papierarbeit Aquarell Früchte- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Derain, André1880 Chatou - 1954 Garches/Seine-et-OiseBuste de Femme. Around 1914. Oil on canvas. Relined. 70.5 x 32cm. Framed. Provenance:- John Quinn, New York- Gallery E.J. van Wisselingh, Amsterdam (label)- Private collection SpainLiterature:- Kellermann, Michel (Ed.): André Derain - Catalogue raisonné de l'oeuvre peint, Vol 1, 1895 - 1914, Paris 1992, cat.rais.-no. 436 (here with reference to signature on verso). Explanations to the CatalogueAndré Derain Modern Art 1910s Woman Painting Oil PortraitDerain, André1880 Chatou - 1954 Garches/Seine-et-OiseBuste de Femme. Um 1914. Öl auf Leinwand. Doubliert. 70,5 x 32cm. Rahmen. Provenienz:- John Quinn, New York- Galerie E.J. van Wisselingh, Amsterdam (Aufkleber)- Privatsammlung SpanienLiteratur:- Kellermann, Michel (Hrsg.): André Derain - Catalogue raisonné de l'oeuvre peint, Band 1., 1895 - 1914, Paris 1992, WVZ.-Nr. 436 (hier mit Verweis auf Signatur verso). Erläuterungen zum KatalogAndré Derain Frankreich Fauvismus Moderne Kunst Unikate 1910er Frau Gemälde Öl Porträt- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Schmidt-Rottluff, Karl1884 Rottluff - 1976 BerlinFeuerlilien in weissem Krug. 1965. India ink and grease crayon in colours on vellum. 70 x 50cm. Signed lower right: SRottluff. Inscribed verso: Feuerlilien in weissem Krug, 66/56 (green chalk), 65/24 (pencil). Craftman's frame. The work is documented in the archive of the Karl und Emy Schmidt-Rottluff-Foundation in the Brücke-Museum Berlin. We want to thank Mrs. Remm for the kind support.Provenance:- Corporate collection Germany. Explanations to the CatalogueKarl Schmidt-Rottluff Germany Modern Art 1960s Still Life Works on paper Mixed media FlowersSchmidt-Rottluff, Karl1884 Rottluff - 1976 BerlinFeuerlilien in weissem Krug. 1965. Tusche und farbige Fettkreide auf Velin. 70 x 50cm. Signiert unten rechts: SRottluff. Bezeichnet verso: Feuerlilien in weissem Krug, 66/56 (grüne Kreide), 65/24 (Bleistift). Modellrahmen. Das Werk ist im Archiv der Karl und Emy Schmidt-Rottluff-Stiftung im Brücke-Museum Berlin dokumentiert. Wir danken Frau Remm für die freundliche Unterstützung. Provenienz:- Unternehmenssammlung Deutschland. Erläuterungen zum KatalogKarl Schmidt-Rottluff Deutschland Expressionismus Die Brücke Berliner Sezession Moderne Kunst Unikate 1960er Stillleben Papierarbeit Mischtechnik Blumen- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Schmidt-Rottluff, Karl1884 Rottluff - 1976 BerlinUntitled (Landschaft). 1960s. India ink and grease crayon in colours on vellum. 40 x 53.5cm. Signed lower right: SRottluff. Framed. This work is documented in the archive of the Karl und Emy Schmidt-Rottluff-Foundation in the Brücke-Museum Berlin. We thank Mrs. Remm for the kind support. Provenance:- Private collection Baden-Wuerttemberg. Explanations to the CatalogueKarl Schmidt-Rottluff Germany Modern Art 1960s Landscape Works on paper Mixed media LakeSchmidt-Rottluff, Karl1884 Rottluff - 1976 BerlinOhne Titel (Landschaft). 1960er Jahre. Tusche und farbige Fettkreide auf Velin. 40 x 53,5cm. Signiert unten rechts: SRottluff. Rahmen. Das Werk ist im Archiv der Karl und Emy Schmidt-Rottluff-Stiftung im Brücke-Museum Berlin dokumentiert. Wir danken Frau Remm für die freundliche Unterstützung. Provenienz:- Privatsammlung Baden-Württemberg. Erläuterungen zum KatalogKarl Schmidt-Rottluff Deutschland Expressionismus Die Brücke Berliner Sezession Moderne Kunst Unikate 1960er Landschaft Papierarbeit Mischtechnik See- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunge mit Reh. 1950 (design). Bronze, brown patinated. 30 x 9 x 9.5cm. Monogrammed on the plinth next to the right foot: RS. As well as on the back plinth edge foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 202, ill- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 77. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1950s Figure / Figures Sculpture Bronze GameSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunge mit Reh. 1950 (Entwurf). Bronze, braun patiniert. 30 x 9 x 9,5cm. Monogrammiert auf der Plinthe neben dem rechten Fuß: RS. Sowie an der hinteren Plinthenkante Gießerstempel NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 202, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 77. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1950er Figur / Figuren Skulptur Bronze Wild- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinLiegendes Zebukalb. 1924 (design). Bronze, brown patinated. 5.5 x 10 x 4cm. Monogrammed on the right gluteal: RS. As well as next to this foundry mark: NOACK BERLIN. Provenance:- Private collection North rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 061, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.-rais.-no. 201. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Animals Sculpture BronzeSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinLiegendes Zebukalb. 1924 (Entwurf). Bronze, braun patiniert. 5,5 x 10 x 4cm. Monogrammiert an der rechten Gesäßhälfte: RS. Sowie daneben Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 061, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 201. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Tiere Skulptur Bronze- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinAusschlagendes Fohlen. 1919 (design). Bronze, brown patinated. 11 x 7.5 x 3cm. Monogrammed On the right rear leg: RS. On stone base (1.2 x 7 x 3.5cm). Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (ed.): Renée Sintenis - Das plastische Werk, Berlin 2013, no. 042, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1978, no. 128. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1910s Horses Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinAusschlagendes Fohlen. 1919 (Entwurf). Bronze, braun patiniert. 11 x 7,5 x 3cm. Monogrammiert am rechten Hinterlauf: RS. Auf Steinsockel (1,2 x 7 x 3,5cm). Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, Nr. 042, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1978, Nr. 128. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1910er Pferde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Dix, Otto1891 Untermhaus/Gera - 1969 SingenFischerkneipe. 1922. Watercolour, india ink and pastel on vellum, perforated along the edges. 37 x 48.5cm. Signed, dated and inscribed lower right: DIX 22, 187. Verso collection stamp (Lugt. 1376a). Framed. The information in the Pfäffle Catalogue Raisonné is taken from the Lempertz auction catalogue. There the sheet was probably not framed. Hence the deviating information in the Catalogue Raisonné.Provenance: - Collection Dr. Heinrich Stinnes, Hamburg (stamp, Lugt. 1376a)- Kunsthaus Lempertz, Cologne 1976, auct. 556, lot 178, ill.- Kunsthaus Lempertz, Cologne 1978, auct. 568, lot 194, w/o ill.- Private collection North Rhine-Westphalia (since 1978)Exhibitions:- Kronprinzenpalais, Berlin 1924Literature:- Pfäffle, Suse: Otto Dix - Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, cat.rais.-no. A 1922/156 (here deviating information: measurement: 36 x 46cm; inscription lower right: DIX 2/18). Explanations to the CatalogueOtto Dix Germany Modern Art 1920s Bar Scene Works on paper Mixed media Figure / FiguresDix, Otto1891 Untermhaus/Gera - 1969 SingenFischerkneipe. 1922. Aquarell, Tusche und Pastell auf Velin, an den Kanten perforiert. 37 x 48,5cm. Signiert, datiert und bezeichnet unten rechts: DIX 22, 187. Verso Sammlungsstempel (Lugt. 1376a). Rahmen. Die Angaben im Werkverzeichnis Pfäffle sind dem Auktionskatalog von Lempertz entnommen. Hier lag das Blatt wohl nicht ausgerahmt vor. Daher ergeben sich die abweichenden Hinweise im Werkverzeichnis.Provenienz: - Sammlung Dr. Heinrich Stinnes, Hamburg (Stempel, Lugt. 1376a)- Kunsthaus Lempertz, Köln 1976, Aukt. 556, Los 178, Abb.- Kunsthaus Lempertz, Köln 1978, Aukt. 568, Los 194, o. Abb.- Privatsammlung Nordrhein-Westfalen (ab 1978)Ausstellungen:- Kronprinzenpalais, Berlin 1924Literatur:- Pfäffle, Suse: Otto Dix - Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, WVZ.-Nr. A 1922/156 (hier abweichende Angaben: Maße: 36 x 46cm; Bez. u.r.: DIX 2/18)Otto Dix gehört zu den bedeutendsten deutschen Künstlern des 20. Jahrhunderts und seine neusachlichen Werke aus den 1920er Jahren zu den begehrtesten auf dem internationalen Kunstmarkt. Neben George Grosz und Max Beckmann hat Dix die Stilrichtung der Neuen Sachlichkeit weitestgehend mitgeprägt. Die Kriegserlebnisse des Ersten Weltkriegs werden für Dix Auslöser für seine sozialkritischen Bilder. Die vorliegende Arbeit entstand 1922 - dem Jahr als Otto Dix sein Studium als Meisterschüler von Heinrich Nauen und Wilhelm Herberholz an der Düsseldorfer Kunstakademie aufnahm und sich dort dem Kreis um die Förderin und Galeristin Johanna Ey ("Mutter Ey") anschließt.Das Aquarell zeigt deutlich eine um 1920 vollzogene Hinwendung zur zunehmend realistischen Malweise mit der Dix das Wahrhaftige widergeben möchte, schnörkellos und mit dem Mut zur Darstellung der hässlichen Seite des Menschen und des alltäglichen Lebens, ohne dabei in die Abstraktion zu verfallen, die er stets ablehnt. In schnellen und flüchtigen Strichen skizziert der Künstler eine dichte Kneipenszene. In einer engen Figurenstaffage sieht man links im Bild einen Mann am Tisch sitzend und daneben steht eine Frau. An der Theke sitzt ein Mann mit gesenktem Kopf. Im Hintergrund die Bardame und diverse nicht detailliert ausgeführte Figuren. Die Köpfe der Männer - hoch-rot akzentuiert - geben einen Hinweis darauf, schon länger hier zu sitzen. Obwohl eine Kneipe ein geselliger Ort sein sollte, wirken die Figuren hier im blau-braunen Dunst der Lokalität einsam und allein. Jeder für sich. Man scheint sich nicht für den anderen zu interessieren. Man ist beschäftigt mit sich und dem eigenen Leid. Die gewählte Farbpalette der wässrig ineinander verlaufenden Aquarellfarben verdichtet die Kneipen-Atmosphäre und verstärkt den Eindruck des individuellen Leids, dem man sich als Betrachter nicht entziehen kann. Erläuterungen zum KatalogOtto Dix Deutschland Neue Sachlichkeit Expressionismus Moderne Kunst Unikate 1920er Barszene Papierarbeit Mischtechnik Figur / Figuren- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinLiegendes Fohlen. 1946 (design). Bronze, brown patinated. 7.5 x 12.5 x 8cm. Monogrammed on the right gluteal: RS. as well as underneath foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 183, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 156. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Horses Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinLiegendes Fohlen. 1946 (Entwurf). Bronze, braun patiniert. 7,5 x 12,5 x 8cm. Monogrammiert auf der rechten Gesäßhälfte: RS. Sowie auf der Unterseite Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 183, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 156. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Pferde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinSpielender Hund. 1930 (design). Bronze, brown patinated. 10.5 x 18.5 x 8cm. Monogrammed On the right hind leg: RS. As well as foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.-rais.-no. 118, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 102. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1930s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinSpielender Hund. 1930 (Entwurf). Bronze, braun patiniert. 10,5 x 18,5 x 8cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 118, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 102. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1930er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinBellender Hund. 1929 (design). Bronze, brown patinated. 8 x 16.5 x 5.5cm. Monogrammed on the left shoulder blade: RS. As well as next to this foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 110, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 100. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinBellender Hund. 1929 (Entwurf). Bronze, braun patiniert. 8 x 16,5 x 5,5cm. Monogrammiert am linken Schulterblatt: RS. Sowie daneben Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 110, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 100. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunger Hund. 1925 (design). Bronze, brown patinated. 8.5 x 6.5 x 10cm. Monogrammed on the right hind leg: RS. As well as next to this and on the the bottom foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 071, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 95. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunger Hund. 1925 (Entwurf). Bronze, braun patiniert. 8,5 x 6,5 x 10cm. Monogrammiert am rechten Hinterlauf: RS. Sowie daneben und auf der Unterseite Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 071, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 95. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinZwei liegende Hunde. 1948 (design). Bronze, light brown patinated. 4 x 13.5 x 9.5cm. Monogrammed on one dog's gluteal: RS. As well as underneath foundry mark: H. NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 191, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 109. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Dogs Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinZwei liegende Hunde. 1948 (Entwurf). Bronze, hellbraun patiniert. 4 x 13,5 x 9,5cm. Monogrammiert am Gesäß eines Hundes: RS. Sowie auf der Unterseite Gießerstempel: H. NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 191, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 109. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Hunde Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunger Esel. 1923 (design). Bronze, brown patinated. 12 x 12.5 x 3cm. Monogrammed On the right hind leg: RS. As well as foundry mark: NOACK BERLIN. On stone base (1.7 x 12 x 4cm). Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 133, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 194. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Animals Sculpture BronzeSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunger Esel. 1923 (Entwurf). Bronze, braun patiniert. 12 x 12,5 x 3cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Auf Steinsockel (1,7 x 12 x 4cm). Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 133, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 194. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Tiere Skulptur Bronze- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinJunges Lama. 1924 (design). Bronze, brown patinated. 16.5 x 10 x 4cm. Monogrammed on the right hind leg: RS. As well as foundry mark: NOACK BERLIN. Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 064, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 243. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1920s Animals Sculpture BronzeSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinJunges Lama. 1924 (Entwurf). Bronze, braun patiniert. 16,5 x 10 x 4cm. Monogrammiert am rechten Hinterlauf: RS. Sowie Gießerstempel: NOACK BERLIN. Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 064, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 243. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1920er Tiere Skulptur Bronze- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Sintenis, Renée1888 Glatz/Silesia - 1965 BerlinSecretary. 1949 (design). Bronze, light brown patinated. 14.5 x 4 x 11cm. Monogrammed on the back edge of the plinth: RS. As well as next to this foundry mark: H. NOACK BERLIN. On stone base (2 x 5 x 5cm). Provenance:- Private collection North Rhine-WestphaliaLiterature:- Berger, Ursel/Ladwig, Günter (eds.): Renée Sintenis - Das plastische Werk, Berlin 2013, cat.rais.-no. 198, ill.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, cat.rais.-no. 247/249. Explanations to the CatalogueRenée Sintenis Germany Modern Art Sculptures 1940s Birds Sculpture Bronze AnimalsSintenis, Renée1888 Glatz/Schlesien - 1965 BerlinSekretär. 1949 (Entwurf). Bronze, hellbraun patiniert. 14,5 x 4 x 11cm. Monogrammiert auf der hinteren Plinthenkante: RS. Sowie daneben Gießerstempel: H. NOACK BERLIN. Auf Steinsockel (2 x 5 x 5cm). Provenienz:- Privatsammlung Nordrhein-WestfalenLiteratur:- Berger, Ursel/Ladwig, Günter (Hrsg.): Renée Sintenis - Das plastische Werk, Berlin 2013, WVZ.-Nr. 198, Abb.- Buhlmann, Britta E.: Renée Sintenis - Werkmonographie der Skulpturen, Darmstadt 1987, WVZ.-Nr. 247/249. Erläuterungen zum KatalogRenée Sintenis Deutschland Expressionismus Moderne Kunst Objekte 1940er Vögel Skulptur Bronze Tiere- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Styrsky, Jindrich11.08.1899 Cerma - vor 1942Komposition. 1937. Mixed media (paper collage, india ink and pastel (?)) on cardboard. 25 x 20cm. Signed and dated in the depiction lower right: Styrsky 37. Illegibly inscribed beneath the depiction. Framed. For this work a photo expertise of Gladys C. Fabre, Paris, from 25.05.1984 is available.Provenance:- Private collection North Rhine-Westphalia. Explanations to the CatalogueJindrich Styrsky Czech Republic Modern Art 1930s Figure / Figures Collage Mixed media WordStyrsky, Jindrich1899 Dolni Cerma/Österreich-Ungarn - 1942 PragKomposition. 1937. Mischtechnik (Papiercollage, Tusche und Pastell(?)) auf Karton. 25 x 20cm. Signiert und datiert in der Darstellung unten rechts: Styrsky 37. Unterhalb der Darstellung unleserlich bezeichnet. Rahmen. Zu dieser Arbeit liegt eine Fotoexpertise von Gladys C. Fabre, Paris, vom 25.05.1984 vor.Provenienz:- Privatsammlung Nordrhein-Westfalen. Erläuterungen zum KatalogJindrich Styrsky Tschechien Surrealismus Moderne Kunst Unikate 1930er Figur / Figuren Collage Mischtechnik Wort- - -29.00 % buyer's premium on the hammer priceVAT margin scheme, VAT included, but not indicated and not reclaimableOptional:19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premium

MODERN ART SCULPTURE

An extremely rare Armand Marseille character smiling boy with intaglio painted eyes size 7, the bisque socket head depicting a young boy with intaglio painted blue eyes with black pupils and white upper eye dots, black line to top eyelid edge, red dot to the inner corner of the eye and centre of nostrils, light brown painted feathered brows, well modelled full cheek with dimples and pleased expression, the closed slightly smiling mouth with a darker red cupid’s bow outline, well defined ears, original blonde mohair wig with curls at nape, composition and wooden ball-jointed body, wearing original coarse linen shirt and modern blue velvet knickerbockers with yellow silk sash, impressed Germany A 7 M —23in. (58.5cm.) high (head perfect, slight kiln dust to side of right face near ear, an extremely tiny firing crack along edge of left top eye lid, body incorrect and slightly too small and wig sparse in places) Notes - this very rare Armand Marseille art character from a series they produced circa 1910. This child’s features are beautifully modelled, probably studied from life. The doll was the child who toy of the vendor’s grandmother who lived in Switzerland at the beginning of the 20th century.

Circa 1500-1540 AD. A 'hand and a half' or 'Bastard' sword, with ring guard, double-edged broad blade, lenticular in section, with single short shallow fuller, running up the first third of its length; the hilt is complex with spherical pommel (style G), the grip is elegantly wrapped with a later iron wire, the cross-guard (style 5) is broad towards the edges, where the iron quillons are ending with three small notches; the handle with a side guard together with the knuckle bow, showing two additional rings on the lower part of the hilt, bowing towards the flat undecorated blade. See Schneider, H., Waffen in Schweizerischen Landesmuseum, GriffWaffen I, Zurich,1980; Talhoffer, H., Medieval Combat: a Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, by Rector, M. (ed."). London, 2000; Oakeshott, E., Sword in hand, London, 2001; Scalini, M., A bon droyt, spade di uomini liberi, cavalieri e santi, Milano, 2007. 1.3 kg, 1.05m (41 1/4"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from Liege, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato. By the second quarter of the 16th century, the long sword had become the 'Bastard' or 'hand and half sword', of which there are many beautiful surviving examples in excellent condition (Oakeshott, 2001, pp.137ff., figs.123-126), like the one here illustrated. The evolution of great and arming swords brought to the transformation of it in the Renaissance rapiers. The samples published by Oakeshott and kept in private collections, show how the developed hilt of the arming sword, which eventually become a rapier, was paralleled in the big 'bastard' swords. Held either in one or both hands, and also known as a ‘bastard’ sword, as its grip was not as long as a traditional two-handed sword, it can be dated to around 1500-1540 based on the decoration of its hilt. The three-notch ends of the crossbars (quillons) are quite flimsy while the finely spherical pommel recalls the swirling lobes that decorated contemporary flagons and candlestick stems. This appearance demonstrates a move away from the brutal simplicity of the medieval sword. The term 'bastard sword' was not, as supported by some scholars, a modern term, but already widely spread in the first half of 16th century. As a military weapon, it was kept in use by the Swiss for almost a century, with very few variations in shape, because it adhered perfectly to the organisational logic of the cantonal troops. So much so, that hundreds of specimens of this type are known, obviously with variations and best represented in the Swiss museums, especially in Zurich (Schneider, 1980, nn. 183-186, 190-195, 198, pp. 129-132, 134-136,138"). Many of them having complex hilts. This interesting piece belongs to the early period of diffusion of rapier in England. With all probability from a battlefield, a castle or a military site. The hilt and spatulate quillons and semi-basket guard for the knuckles is characteristically middle of the 16th century German. It was a long-term employed form, based on the shape of the swords used from horseback, hybridizing them with those of two-handed swords, thus defining an infantryman's sword, very effective against horsemen and pikemen. Its use, predominantly Germanic, involved training and a particular way of shielding, with guard positions, parades and lunges, all different from those of civilian side arms (Scalini, 2007, p.244"). Swords like this were among the most versatile weapons of the battlefield. It could be used one-handed on horseback, two-handed on foot; different techniques were used against armoured and unarmoured opponents; and the sword could even be turned around to deliver a powerful blow with the hilt. Mastery of the difficult physical skills of battle, was one of the chief attributes of the aristocrat. The art of combat was an essential part of a nobleman's education. Sigund Ringeck, a 15th-century fencing master, claimed knights should 'skilfully wield spear, sword, and dagger in a manly way.' These swords, gripped in both hands, were a potent weapon against armour before the development of firearms, but also continued to be used for long time after the diffusion of the guns and arquebuses on the European battlefield of XVI century. To fully appreciate the sword’s meaning for Ringeck as a sixteenth-century gentleman, it is important to understand its double role as both offensive weapon and costume accessory. As costume jewellery the decorative sword hilt flourished fully between 1580 and 1620. However, the seeds were sown long before. This ‘hand-and-a-half’ sword for use in foot combat carries an early sign of this development. No part of a medieval sword was made without both attack and defence in mind. Modern fencing encourages us to see the blade, in fact only the tip of the blade, as the sole attacking element of a sword and the hilt more as a control room and protector. Tight rules prevent the sword hand ever straying from the hilt and the spare hand from getting involved at all. This is a modern mistake. The fifteenth-century Fightbook published by the German fencing master, Hans Talhoffer, illustrates a more pragmatic approach as how two fashionably dressed men settle their differences using undecorated swords with thick diamond-section blades. The blades could be gripped as well as the hilt. The rounded pommels at the end of the grip, and at the ends to the quillons, not only balanced the swing of the sword but acted as hammerheads to deliver the ‘murder-stroke’. As soon as these elements ceased to be functional, they took on the role of adornment. This sword hints at the more decorative hilts produced later in the late 16th and 17th centuries. Swords themselves varied in weight and so did the crossguards. Also there are multiple different crossguards in this category, starting from simple ones with a single sidering or none at all to some complex 'baskets'. Fine condition. Rare.

14th-15th century AD. An iron long sword of Oakeshott's Type XVII with broad two-edged blade (5.6cm at the shoulder), double fuller extending 38.5cm along each face, wide rectangular-section tang tapering at the upper end, capped with a biconvex octagonal-section pommel; guard with tapering round-section quillons; stamped unidentified maker's mark to one face of the tang, a grid of six squares; the blade shortened to 58cm in length and the end squared. See J Oakeshott, R.E., The Archaeology of the weapons, London, 1960; Oakeshott, E., Sword in hand, London, 2001; cf. Oakeshott, E. Records of the Medieval Sword, Woodbridge, 1991, item XVII.7 for pommel. 1.4 kg, 81cm (32"). Property of a Suffolk collector; formerly acquired on the European art market in the 1990s; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The blade of the sword has been shortened from its expected length of around 75cm and the weapon has been described as an 'executioner's sword' on the basis of its altered profile. This sword belongs to the category which, in the Middle Ages, was referred as 'La Grant Espée d’Allemagne', or 'Great sword of Germany'(Oakeshott, 2001,p.90"). Oakeshott classified this type of swords as swords of type XVII (sub-category 7, 8 or 9"). Our sword is in fact, very similar to a sword recovered from the Lake of Neuchâtel (Oakeshott, 1991, p.165), but more similar to one in the British Museum, with identical pommel of type T2 (Oakeshott, 1960, p.314), the fuller of the blade and the cross-guard. In our specimen the point is missing, probably lost in action or cut deliberately. This suggests the possibility that the original fighting sword was transformed into an executioner's or justice sword, but it is improbable, as all the executioner's swords of late Middle Age have a flat blade without fuller and a round point. Another sword presenting similar characters is the one from Thames (Oakeshott, 1991, p.167), with a long ricasso below the hilt to enable the sword to be used for effective thrusting in close combat, while the left hand could be brought forward to grasp the blade below the cross, in order to shorten the length of the blade. Type XVII (Oakeshott, 1960, pl.16d) was perhaps the most frequently used sword during the period of 1370-1425. Its cross-section is usually hexagonal and very solid, sometimes with a very shallow fuller in its upper half. Many samples survive; perhaps the finest of them all is an example found in the River Cam, now in the Fitzwilliam Museum in Cambridge (Oakeshott, 1960, pl.16c"). Swords of this type all have the same bladeform, but considerably varied hilts, and examples have been found all over Europe. One which comes second only to the Cambridge example, with a similar blade but a different hilt was, in 1960, in a famous and very choice private collection in Denmark. This is the same sword as in the Hall of Victories at Alexandria, presumably a trophy, by the Mamluks. In 1426, the Mamluk Sultan Malik el Asraf Barsabay raided Cyprus, carrying off a number of swords which were duly inscribed, often more than ten years after their capture. Most of the surviving swords are from this time, being dated in the 1430s. Occasionally an actual date (in one instance A.H. 836 = A.D. 1432) was stamped upon them, but more often they bear simply a statement that they are the inalienable property of the Arsenal of Alexandria, together with the name of the Emir in charge of it at the time. As these people held the office only for very brief spells, it is usually possible to date the inscriptions quite accurately by the name. Most probably our specimen is from a battlefield or, most probably a river find. The piece is, notwithstanding the shortened blade, in excellent condition. With the type XVII, used between around 1360-1420, we see a sword designed for no other purpose than cracking into the plates of the armours. Type XVII always has a long hand-and-a-half grip, and a very stout blade of hexagonal section, occasionally with a shallow fuller, and often very heavy and always very rigid. The Type XVII was designed in an attempt to allow the sword some use against the increasingly prevalent plate armour of the period. In many ways, a Type XVII is more of an impact weapon designed to crack armour or provide blunt force trauma than a cutting weapon. The blade is long, stiff, and triangular in profile, with a hexagonal cross section – more of a very long spike with a handle, than a sword. The handle always with a hand-and-a-half grip. The mountings of the swords of type XVII may have lead Oakeshott to refer to such swords as a 'rather boring type'. Most samples seem to fall into two groups: the Sempach family of swords, so called because the two swords in this category belonged to two knights killed at the battle of Sempach, in 1386 AD. These swords possessed scent-stopped pommels of type T2 (like our specimen) but curved cross-guards of stile 1a (Oakeshott, 1960, p.323, fig.9"). Swords of the other group usually have oval pommels, wide, and crosses of either Style 1 or Style 6. A handful of other examples don't fit into either group; these typically have other forms of scent-stopper pommels or other forms of wheel pommels. Our sword seems a melée of different types, what it is perfectly conceivable. Very often, in the modern world, we think that the ancient objects were created in the shape they were discovered in, and that, except for some small modifications, they are preserved now in their original form. This is not correct, especially for the weapons used in battle: they were restored, repaired, details such as cross-guards and pommels were often changed, with later repair or additions, or transformations for different use. Although the sword was mainly the knightly weapon par excellence, its conception and use changed over centuries. During the period concerned here, the sword was a versatile weapon. From the 14th century onwards, the sword began to be used not just as a battlefield weapon, but also as a civilian weapon. Starting in Germany and then Italy, sword masters such as Johannes Liechtenauer (14th century) and Fiore dei Liberi (c. 1340s-1420s) trained students in the use of the sword, not on the battlefield but in the judicial duel against unarmoured and armoured opponents. This too required a sword that could both cut and thrust. Fine condition; blade shortened.

Late 17th century AD. A long Western two-handed executioner sword of German making; the pear-shaped pommel is mounted on the original still preserved wooden grip; the cross guard is straight, ending with straight quillons; the double edged blade is broad and flat, without fullers, having a round tip and a three holes for the blood at the point; the sword is marked on both sides: on one side there is a circle inside which a Christian monogram (chi-ro) cross is inscribed, supported by a short staff; on the other side there is the image of a gallows, both inlaid in copper. See Fischer, Kunst und Antiquitätenauktion antike Waffen und militaria, Montag, 30. August, bis Montag, 6. September 2004, Luzern, 2004; Ni?oi A., Posea R., 'Spade de execu?ie ale ora?uluj Bra?ov ?n perioada medievalã ?i modernã', in Rela?ii Interetnice în Transilvania, Militaria Mediaevalia în Europa centralã si de sud-est, Sibiu, 2018, pp.113-126. 2 kg, 1.12cm (44 1/4"). From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed originally from Liege, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato. This Sword of Justice was employed for capital executions. The executioner sword was a symbolic and ‘facilitator’ of judicial law. Many courtrooms displayed executioner swords on their walls. Specimens similar to the sword here published are well known in public and private European collections (Fischer, 2004, cat.99 and 126"). The marks impressed on the blade are identical to a sample published by Fischer in the auction of 2004, having, like our specimen, a wide, flat, double-edged blade, marks, brass-plated wheel and gallows, with the adding of engraved scrolls and floral decor. A further similar model survives in the Medieval Crime Museum (Mittelalterliches Kriminalmuseum) in Germany. Such swords come at the tail end of the period in which swords were used in Europe for executions (a period from the 16th century to the 1720s. They feature similar characteristics: a long, heavy blade that ended not in a point but with a distinctive flat edge. The blades of the executioner’s swords were often decorated, and while in some cases the sword would be inscribed with the executioner’s name in other cases were put inscriptions like I spare no one – a brutal message for criminals (or poor victims or the state's reason) facing this sword’s edge. Sometimes the messages were more merciful, like in the case of a blade recently published by the Museum of the Artifacts, made in Germany in about 1600 AD: the inscriptions is saying: when I raise this sword, so i wish that this poor sinner will receive eternal life. The blades of executioner's swords were often decorated also with symbolic designs, showing instruments of execution or torture, or the Crucifixion of Christ (like in our specimen) combined with the moralistic inscriptions over mentioned. When no longer used for executions, an executioner's sword sometimes continued to be used as a ceremonial sword of justice, a symbol of judicial power. Recently, important samples of executioner's swords from Transilvania have been published by Anca Nitoi and Rozalinda Posea. Along with Sibiu and Cluj, the city of Brasov holds spectacular items with regards to late and early modern time executioner's swords. The three swords published by the Rumenian archaelogists ranges from the 16th to the XVIII century. The first two had a hilt very similar to the specimen here represented, and are considered by the authors as belonging to the Oakeshott sub-type XVIIIb of his sword's classification. Interesting are the three inscriptions on the blade of one of the XVI century sword: JESVS DIR LEB ICH, JESVS DIR STIRB ICH, DEIN BIN ICH TOT UND LEBENDING (Jesus for You I live; Jesus for You I die; I am Yours in life and in death"). The inscription confirms that in any case a sense of mercy was given to the condemned, letting him to repent of his sins until the end, even with a sort of blessing left on the blade destined to put end to his life. Most probably our specimen is coming from a palace as it is in such excellent condition. Executioners’ swords were more common in continental Europe from the 1400s, particularly Germany, with England still preferring the axe. The sword hilt was normally of conventional cruciform shape with a large counter-balancing pommel. It was very well constructed, with high-quality steel used for the manufacture of the blade. The blade edge was extremely sharp and it was a requirement of the executioner to keep it well honed so that the head of the victim could be severed in one mighty blow. Blades were broad and flat backed, with a rounded tip. These swords were intended for two-handed use, but were lacking a point, so that their overall length was typically that of a single-handed sword (ca. 80–90 cm (31–35 in)"). The quillons were quite short, and mainly straight, and the pommel was often pear-shaped (like in our specimen) or faceted. The sword was designed for cutting rather than thrusting, so a pointed tip (as in the case of military blades) was unnecessary. Differently from the arming sword and the double handed bastard sword of the late Renaissance and Baroque Age the tool of the executioner's sword was not designed for combat, instead being intended for the quick death – usually through decapitation – of the condemned. This weapon would not need to be combat worthy, but would still be capable of fulfilling its intended purpose. By the early 1700s swords were no longer used in Europe for executions, but they still functioned as symbols of power. However, the last executions by sword in Europe were carried out in Switzerland in 1867 and 1868, when Niklaus Emmenegger in Lucerne and Héli Freymond in Moudon were beheaded for murder. Swords are still used to carry out executions in Saudi Arabia. Fine condition. Very rare.

1st century BC-2nd century AD. A large rectangular mosaic floor panel in original matrix, with castellated bichrome border and inner frame of larger (10mm) tesserae surrounding the central portrait with micro tesserae as small as 2mm; the subject a bust of Summer with foliage wreath to the brow, peplos gown and folded wings, enigmatic legend above '???? ??????', set into a modern frame; supplied in custom-made transport/storage container. See Dunbabin, K. M. D. Mosaics of the Greek and Roman World, Cambridge, 1999. 66.6 kg, mosaic: 119 x 120 cm crate: 129 x 130 cm (50 3/4 x 51"). Property of an important French collector; his collection having been formed since the early 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 142950-10004. Very fine condition.

2nd century-3rd century AD. A rectangular mosaic floor panel in matrix, the tesserae arranged in a pattern of squares with coloured blocks with consistent perspective, set into a modern frame; supplied in custom-made transport/storage container. 32.9 kg, mosaic: 172 x 43cm crate: 180 x 54cm (71 x 21 1/4"). Property of an important French collector; his collection having been formed since the early 1960s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 142952-10006. Very fine condition.

*KHUDYAKOV, HENRY (B. 1930) Natashka–The Peacock, signed, inscribed in Russian "(... Kogda eshche zvezdy tak nizko rosli ..." B.P.) (Natashka)" and dated "1999 (Jan. 5-10.) +21", also further signed, titled in Russian and English, variously inscribed and dated between 5 January 1999 and 26 January on the reverGouache, felt-tip pen, ink and collage with photograph, nut shells, glue blobs, paper and cardboard, on board, 63.5 by 52.5 cm.Provenance: Tabakman Collection, USA.Exhibited: Jumbo Love © Henry Khudyakov, Moscow Museum of Modern Art, 22 March–19 May 2019.

PETROV, ARKADY (B. 1940) Acacia in Blossom, signed, titled in Cyrillic and dated 1983 on the reverse.Oil on canvas, 63 by 60 cm.Provenance: Acquired directly from the artist by the present owner.Private collection, Europe.Exhibited: Facing Characters, Quaedvlieg Modern Fine Art, Maastricht, 2006.Russian Soul, Thorn Museu

SHABLAVIN, SERGEY (B. 1944) Receding in the Distance, signed, titled in Cyrillic and dated 1991 on the reverse.Oil on canvas, diameter 84 cm.Provenance: Acquired directly from the artist by the present owner in 2000.Private collection, Europe.Exhibited: Sergey Shablavin Non-Conformist, Quaedvlieg Modern Fine Art, Maastricht, September 2004.

A modern Art Nouveau style silver mounted photograph frame, 30.5cm.

Modern Art Deco style bronze figure of a dancing girl with arms outspread, on turned marble base (32cm high)

Killarney cut glass bowl, French moulded glass bowl, Murano three section dish, Art Deco Tuscan China tea set for six, Art Nouveau vase painted with Poppies, Spode Italian hot water jug, modern glazed vase, crackle glaze candlestick & other decorative ceramics Condition Report Click here for further images, condition, auction times & delivery costs

A Lot of three vintage Huguenin watches, Which includes round sphere fob watch with gilt metal chain, Art Deco ladies watch and Gents Automatic watch. Sphere and Gents watch work. Together with a modern Citizen Eco-Drive watch

Three framed studio mixed method modern art portraits female studios

Röntgen (Wilhelm Conrad) Ueber eine neue Art von Strahlen, 2 parts, rare offprints of both parts, offprints from the Sitzungsberichten der Wurzburger Physik-medic. Gesellschaft, in original yellow and orange printed wrappers, preserved in modern cloth chemise with small leather book-label of Haven O'More, morocco slip-case, [PMM 380; Garrison Morton 2683; Norman 1841-42], 8vo, Wurzburg, 1895 & 1896. ⁂ First editions of two of the most influential and far-reaching medico-scientific papers ever published. Extremely rare to find both papers together and in such good original condition. "Their importance in surgery, medicine and metallurgy is well known. Incomparably the most important aspect of Roentgen's experiments, however, is his discovery of matter in a new form, which has completely revolutionized the study of chemistry and physics. Laue and Braggs have used the X-rays to show us the atomic structure of crystals. Moseley has reconstructed the periodic table of elements. Becquerel was directly inspired by Roentgen's results to the investigation that discovered radio-activity. Finally J.J. Thomson enunciated the electron theory as a result of investigating the nature of X-rays." (PMM). He was awarded the first Nobel Prize in Physics in 1901.

Rossetti (Christina) Goblin Market, half-title, wood-engraved pictorial title, 12 plates and numerous illustrations by Laurence Housman, with loosely-inserted A.L.S. from Housman dated 1941 concerning a concert, "...it was music I could understand - my appreciation of modern music is very limited...", loosely inserted, a good copy in original green decorated cloth, gilt, designed by Housman, very slightly rubbed at edges, [Ray 279], 8vo, 1893.⁂ One of the most important Art Nouveau illustrated books. It was originally published in 1862 with two illustrations by the author's brother, Dante Gabriel Rossetti (see previous lot), but Laurence Housman wrote to the publishers suggesting a fully illustrated version. His style perfectly captures the tale of the weird and sinister goblins tempting two innocent sisters to taste their fruit.

Miniature Book - Cookery.- Kleinste Kochbuch der Welt (Das), 136pp, small tear to pp.117/118m, final leaf slightly defective at inner margin (laid down), a few leaves creased at edges, new endpapers, original silver-plated metal binding with hinged upper cover embossed with Art Nouveau floral design, lacking clasp but with ring to edge of lower cover, a little rubbed, [Bondy p.139, "extremely rare"], 24 x 21mm., [Vienna], [c.1905]; and a modern miniature Koran (2)⁂ The smallest cookery book in the world.

Book of Hours, Use of Rouen, manuscript on vellum, in Latin and French, 98 leaves including initial and final blanks: fols. 1, 22v, 59v, 98v also blank, Modern foliation in pencil on the upper right corner (not taking into consideration first blank leaf), single column, 20 lines, ruled in brown ink, written in brown ink in a regular textura, major feasts in Calendar in gold, others alternating blue and mauve, 14 lines of prayers on fol. 98r in a different and slightly later hand,14 fine full-page miniatures, mostly in arched compartments, with full floriate and foliate borders, inhabited by birds, squirrels, monkeys and fantastic animals or occasionally flanked by multi-coloured marbled columns, smaller illuminated miniatures in Calendar, each page of text with illuminated floriate and foliate border on one side, in gold and colours, including some animals, numerous decorated illuminated initials in varying sizes, line-fillers throughout, a few small spots and stains but generally in bright and fresh condition, 20th century dark brown morocco by Baum, spine gilt, gilt-stamped morocco pastedowns, earlier gilt edges, 8vo (165 x 108mm.), Rouen, [1480s].⁂ An excellent example of an illuminated book of hours, the intimate prayerbook for the laity, produced in Rouen in the last quarter of the 15th century (possibly c.1480-1485): a mixture of devotion, literacy and luxury executed for a patroness. The style of the illumination and iconographical features allow us confidently to attribute its production to the workshop, or a close follower of the Maître de l'Échevinage, so named after a group of manuscripts he illuminated for the library of the Council of Aldermen (échevins) of Rouen, and now in the Bibliothèque Nationale in Paris. This highly esteemed and influential artist worked in the Norman town from 1450 to c.1485, and is also known as the Master of Latini Geneva, from a Brunetto Latini manuscript in the Geneva Library. The manuscript opens with the Calendar, in which the names of local saints are included - among others, Ansbertus (9th February), the patron of Rouen Romanus (23rd October), and Martialis (3rd July) - and further confirm its place of production. Each month is framed within an illuminated border containing vignettes representing the relevant sign of the zodiac and seasonal labours respectively. Landscapes and details are rendered with great care. Moreover, the manuscript contains 14 full-page miniatures, each introducing the traditional sections of the Book of Hours. The elaborate carved architectural structures or thrones, the draperies shaded in gold, and the landscapes visible beyond, with views of a walled town (possibly Rouen), are remarkable. The miniature opening the Gospel sequences (fol. 14r), which depicts all four evangelists, is particularly noteworthy. It departs from the standard iconography: while the four evangelists are normally all the same size, here the emphasis is placed on St. John, seated on Patmos island and in the act of writing on a scroll. Luke, Matthew, and Mark on the other hand are depicted in smaller marginal vignettes, and are represented in different activities: Luke writes, Matthew reads, and Mark examines the point of his pen. This unusual iconography is distinctive of the Échevinage Master, and is repeated - in slightly variant forms - by his followers. Other stylistic or iconographical characteristics are recognisable in the eight miniatures illustrating the Hours of the Virgin, and or in the macabre image of the Three Living and Three Dead introducing the Office of the Dead (fol. 72r), a set of prayers for the dead and dying. More specifically, the manuscript shows striking similarities with the MSS Walters 224 and 241 of the Walters Art Gallery in Baltimore, both produced in the 1480s by a follower of the Échevinage Master. Occasionally customers paid for having special miniatures in their Book of Hours, usually one representing themselves kneeling before the Virgin or a particular saint. This is the case in this manuscript: the miniature on fol. 91r depicts its unknown patroness, dressed in a rose-madder robe and wearing a black headdress, kneeling before a seated Virgin Mary holding the Christ child. The manuscript is therefore the issue of female patronage, and the coats of arms on fol. 96v, which, in a certain sense, signs the manuscript, is also possibly related to the family of this woman.Text (for the use of Rouen):Fols. 2r-13v: Calendar, in French; fols. 14r-17vr: Gospel sequences; fols. 17r-19v: Obsecro te; fols 19v-22r: O Intemerata; fols. 23r-54r: Hours of the Virgin: Matins (fol. 24r: Lauds; fol. 31r: Prime; fol. 40r: Terce; fol. 43v: Sext; fol. 46r: None; fol. 48r: Vespers; fol. 50r: Compline; fol. 51v); fols. 54v-56v: Hours of the Holy Cross; fols. 57r-59v: Hours of the Holy Spirit; fols. 60r-71v: Seven Penitential Psalms, Litanies; fols. 72r-90v: Office of the Dead; fols. 91r-96v: Marian hymns (Fifteen Joys of the Virgins), in French.Illustration:Calendar. Fol. 2r (January): The Water Carrier; Feasting; fol. 3r (February): The Fish; Warming by fire; fol. 4r (March): The Ram; Pruning; fol. 5r (April): The Bull; Hawking; fol. 6r (May): The Twins; Riding; fol. 7r ((June): The Crab; Shearing sheep; fol. 8r (July): The Lion; Reaping; fol. 9r (August): The Virgin; Winnowing; fol. 10r (September): The Balance; Sowing; fol. 11r (October): The Scorpion; Treading Grapes; fol. 12r (November): The Archer; Slaughtering a Pig; fol. 13r (December): The Goat; Roasting a Pig.The subjects of the 14 full-page miniatures are as follows: 1. fol. 14r: St. John in Patmos at centre, the other evangelists in smaller vignettes; 2. fol. 24r: Annunciation, episodes from Virgin's life at base; 3. fol. 31r: Visitation, drollery at base; 4. fol. 40r: Nativity, drollery at base; 5. fol. 43v: Annunciation to the Shepherds and Shepherdess; 6. fol. 46r: Adoration of the Magi; 7. fol. 48r: Presentation in Temple, drollery at base; 8. fol. 50r: Flight into Egypt; Miracle of Cornfield at back; 9. fol. 51v: Coronation of Virgin, drollery at base; 10. fol. 54v: Crucifixion with thieves; 11. fol. 57r: Pentecost; 12. fol. 60r: King David penitent, admonished by Nathan, Combat of Goliath at base; 13. fol. 72r: Three Living and Three Dead, a man run through by skeletal Death with his dart at base; 14. fol. 91v: Virgin and Child enthroned with the female manuscript owner kneeling.Provenance: first female owner depicted on fol. 91v; two coats of arms on fol. 96v; the German collector George Nestle-John (1839-1895; see Bibliothek George Nestle-John. Illustrierte Bücher des xiii.-xix Jahrhunderts, Frankfurt, 6 October 1931, lot 81, and pl. lxiib; estimated 1,500 Reichs-Marks), copy of catalogue included in the lot.Literature: G. Swarzenski- R. Schilling, Die illuminierten Handschriften und Einzelminiaturen des Mittelalters und der Renaissance in Frankfurter Besitz, Frankfurt 1929, no. 125 and pl. lxiib; R.S. Wieck, Time …

NO RESERVE Bookbinding.- Marbling.- Woolnough (C. W.) The Whole Art of Marbling as applied to Paper, Book-Edges etc...., third edition, with 9 leaves of gold-veined original samples (often missing), 5 leaves with 20 small mounted samples and 29 full-page irregularly-numbered original marbled leaves (numbered 1, 3, 4, 6, 8-17, 19, 23-31 + 1[A], 2[A], 3[A], 7[A & B], 20A-D, 28A), facsimile letter from Michael Faraday, sample number 13 supplied from another copy and number 30 loose, contemporary cloth, rubbed, spine faded and a little worn at ends and joints, with 14 additional loose samples (numbered 1, 5, 21, 22, 25, 29 & 30 and 7 unnumbered) enclosed with A.L.s. from Bernard Middleton to Frank Broomhead "Herewith some marbled papers for your copy of Woolnough...", together preserved in modern cloth drop-back box, 8vo, 1881. ⁂ The number of samples varies from copy to copy.

India.- Fergusson (James) Tree and Serpent Worship: or Illustrations of Mythology and Art in India...from the Sculptures of the Buddhist Topes at Sanchi and Amravati, first edition, tinted lithographed frontispiece and 42 plates after Lt.Col. Maisey & others including 2 maps (one double-page chromolithograph), 57 large mounted albumen prints by Lt. Waterhouse and W.Griggs, 2 double-page, all plates mounted on stubs, wood-engraved illustrations, some foxing, some photographs a little faded as usual, small ink stain to plate LXIV, N2 & 3 (pp.99-102) frayed at edges and tipped in, modern half calf, red morocco label, a little rubbed, upper joint split, large 4to, 1868.⁂ Scarce work on two of the most significant Indian Buddhist monuments, the stupas at Sanchi and the architectural fragments at Amravati, some of the earliest surviving stone constructions in India. The fine photographs depict the temple complex, gateways, pillars, friezes etc. in detail.

Richard Strauss (German, 1864-1949) Composer, Pianist and Violinist, Germany Romantic, Early Modern Era Black and White Photograph on Paper, "Tod und Verklarung" Score Circa 1900 Autographed / Signed 1) Photo 3 1/2 in. x 5 1/2 in. 2) Score 15 1/4 in. x 11 in. Condition: Good to Fair. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: John and Johanna Bass Collection; Bass Museum of Art after 1979. Museum Inventory No. 1979.310; 1979.487 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery in house USA continental shipping $45 plus insurance. Gallery will refer a local shipper for international buyers. Purchaser pick up available upon request.

Murano Glass Floor Lamp (Italian, Mid 20th Century) Ribbed Tulip Form Floor Lamp Mid Century Modern Gold Flecked Art Glass Lamp: 65 in. x 16 in. Condition: Good overall condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Property from a Miami Estate Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

Ferdinado Stransky (German, 1904-1981) Theresianumgasse II; View of a City View from Masters Studio, circa 1959 Oil on canvas Signed, F. Stransky, Lower Left Canvas: 35 1/4 in. x 39 1/2 in.; Frame: 44 1/2 in. x 48 3/4 in. Condition: Good condition. For inquiries, condition report and additional images please email info.hillgallery@gmail.com Provenance: Purchased from Kunsthandlung Karl Loescher, Anton Jancsy, Wien 1, Austria on July 25th, 1966; John and Johanna Bass Collection; Bass Museum of Art after 1979. Literature: Illustrated in the book "Modern Art In Austria" Pg 40, No. IV; The John and Johanna Bass Collection, Miami Beach, FL, 1973, no. 190.; Paintings and Textiles of The Bass Museum of Art, Russell, Margarita, Miami Beach, FL, 1990, p. 138-139. Museum Inventory No. 1979.190 Collection of the Bass Museum of Art - Miami Beach, Florida. Proceeds to benefit the John and Johanna Bass Acquisitions Fund. Shipping: Hill Auction Gallery will not ship. Gallery will refer professional third party shippers for USA Domestic and International buyers. Purchaser pick up available upon request.

An Art Nouveau painted mirror firescreen in brass frame; a modern footstool in gold

THE JOURNAL OF INDIAN ART AND INDUSTRY, VOLUMES I, II, IV & VI W. Griggs, London, 1886-1896 comprising nos. 1-16, 17-24, 33-37 & 46-53 respectively, each volume bound in gold embossed green buckram, with colour and black and white plates 36.7 x 26.5cm (4) Provenance: Property of a Deceased Estate, sold by order of the Executors. Although it was relatively shortlived, only lasting for thirty years, The Journal of Indian Art was a landmark publication for British appreciation of Indian Arts and Crafts, both antique and modern. Major specialists of the day, such as B.H.Baden Powell, Edmund Smith, E.B. Havell, Thomas Holbein Hendley, Sir George Birdwood and John Lockwood Kipling were among the contributors, writing on subjects including architecture, metalwork, textiles, jewellery and ceramics.

THOMAS THORNYCROFT (1815-1885) QUEEN VICTORIA ON HORSEBACK bronze, dark brown patina, signed T. THORNYCROFT FECIT/ LONDON 1853 and inscribed ART UNION OF LONDON/ 1854 (Dimensions: 54cm high, 65cm wide approx.)(54cm high, 65cm wide approx.)Footnote: Note : Arriving at the Great Exhibition in 1851 visitors were met in the central courtyard by a larger-than-life plaster statue of Queen Victoria on horseback by Thomas Thornycroft. The composition, believed to be derived from an engraving of Victoria reviewing the troops at Chobham, was greatly admired by the sovereign and Prince Albert. Some critics however, felt this version, which showed Victoria in contemporary dress on her lively Arabian horse, too modern, with The Times reviewer going so far as to brand it ‘too anatomical’. Nevertheless, it was favoured by the Queen and used later with some alterations for a large bronze group to accompany an equestrian figure of Prince Albert outside St George’s Hall, Liverpool, completed in 1869. The Art Union of London commissioned Thornycroft to complete fifty statues in bronze, and awarded them as prizes between 1854 and 1859, of which the current lot is one. As part of the commission, he repositioned to horse’s legs, changing them from the plaster version shown at the Great Exhibition. Other examples are in the Royal Collection and the collection of the V&A. Thomas Thornycroft, the son of a farmer, spent four years as an apprentice to the Sculptor John Francis, marrying his daughter Mary, also a sculptor, in 1840. He exhibited at the Royal Academy from 1839 and 1874 and made numerous large commissions, including Boadicea and Her Daughters on the Western end of Westminster Bridge, and a marble group Commerce for the Albert Memorial in Kensington Gallery.

A group of various metalware, roundels and objects, 19th century and laterComprising: a 19th century copper and brass tazza of a cherub playing a flute, 23cm diameter, a 19th century carved ebonised roundel of three angels playing musical instruments, 16cm diameter, a 19th century copper circular relief of Mars, Venus and Cupid, 15cm diameter, a 17th century iron Tudor rose on a later oak panel, 16cm wide, a framed gilt copper circular panel of amorini within a square ebonised frame, 12cm wide, a 19th century copper roundel of Temple Bar, within an circular oak moulded frame, 16cm diameter, a brass roundel of St Marks’ lion, 10cm wide, a large 19th century copper medal of Angelus Bonarrotius (Michaelangelo), within a square oak and ebonised moulded frame, 32cm wide, a pair of modern plaster gems within gilt square frames, each 17cm wide and an Art Nouveau enamelled copper circular panel of a mermaid, within an oak frame, 27cm diameter. (11)

After Edward Coley Burne-Jones (1833-1898), 'The Golden Stairs', print, 25cm x 10cm, overall 55cm x 40cm, gold colour mount and modern decorative gilt frame, Lamb Antique Fine Art of Wolverhampton gallery labels to the back

A Rob Crooks art glass vase; together with two modern decorative glass items

Original vintage advertising poster featuring a fantastic illustration by the notable French artist Bernard Villemot (1911-1989) designed for Point F Fourrures fashion company. Black and white artwork featuring an elegant young lady wearing a stylish black fur coat and hat with a square stone necklace and earrings and black shoes against a white background. Printed in France by Sentein, Montpellier, Imp. IPA. Bernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least three books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985); "Villemot: l’affiche de A à Z," by Guillaume Villemot (2005); and "Embracing an icon: the posters of Bernard Villemot," by George H. Bon Salle (2015).Year of printing: 1983, country of printing: France, designer: Bernard Villemot, dimensions (cm): 82.5x119.5 (Horizontal). Fair condition, staining, creases and waving.

Original vintage travel advertising poster published by London Transport to promote London's parks and openair spaces with an artwork by Margaret Barnard showing a knitting kit with wool balls and needles lying on the grass between small flowers. Printed by McCorquodale & Co., Ltd. Margaret Helen Barnard (1898–1992) was a painter and linocut maker. Barnard was born in Bengal, where her father was serving with the Indian Police Force. At the age of seven she returned to Britain for her education, and went to Bath High School, and St. Leonard’s Fife. Barnard studied at The Glasgow School of Art from 1917 to 1923. She then moved to London, where she attended the Grosvenor School of Modern Art like her contemporary Sybil Andrews, studying under Claude Flight. In 1924 She married artist Robert George Sang Mackechnie (1894-1975), who would join the British art group the Seven and Five Society in 1927. The couple lived in Italy for several years, and later they moved to Rye. During the Second World War she was an ambulance driver, cultivated an allotment and bred rabbits; she resumed painting after the end of the war, and continued to exhibit at the Royal Academy until her death. In 1990 she made a bequest of her own works and her husband's, as well as their personal collection of works by other artists, to the Rye Art Gallery. Barnard died in 1992.Year of printing: 1939, country of printing: UK, designer: Margaret Barnard, dimensions (cm): 102x63.5. Good condition, small tears in margins, minor paper loss in top left corner.