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Colour offset on paper, 7 x 15.6 cm, printed both sides. Each signed 'Cildo Meireles' in lower right. Distributed in an unlimited edition. The 'Zero Cruzeiro' works are a continuation of the artist's 'banknote project' initiated in 1970 in conjunction with the landmark exhibition 'Information' at the Museum of Modern Art in New York, in which Meireles printed politically subversive messages on notes of U.S. and Brazilian currency and entered them into national circulation. These 'Zero Cruziero' notes are designed similar to the then common bills, with images of pompous national symbols replaced by an indigenous man and a (political) prisoner. Provenance: directly from the artist. Cildo Meireles (Rio de Janeiro, 1948) is an influential conceptual artist from Brazil. His works have a strong critical and political character. In a career spanning more than 60 years, he has exhibited all over the world including the Tate Modern London (2008) and Reina Sofía in Madrid (2013). He participated in Biennales of Venice (several times), Istanbul, São Paulo and many others as well as Documenta 11 in Kassel (2002). Recently, he received the prestigious Roswitha Haftmann Prize 2023.

Amsterdam, Galerie Swart, 1974. Blank cardboard portfolio with flaps, 30.5 x 30.1 cm. Contains a printed title leaf, and 12 original relief prints, 30 x 30 cm on thick white paper sheets. The prints are made in a limited edition of 10 copies, signed Hilgemann, dated '74 and numbered 2/10 in pencil on the title sheet. The work is identified as G 1974 series 174/2 nos. 1-12. All prints and the title panel are in mint condition. The portfolio shows toning and wear along the margins, with some abrasions on the rear board. Scarce item by German-Dutch artist Ewerdt Hilgemann (born 1938), who was represented by the prominent Amsterdam based gallery Swart in the late 1960s and early 1970s, featuring a new type of abstract constructivism. His paper and sculptural reliefs and his later 'implosion' works are in numerous public and private collections worldwide, such as Louisiana Museum of Modern Art Humlebæk, Muzeum Sztuki Lodz, Kunsthalle Bremen, Museum for Konkrete Kunst Ingolstadt, Kröller Müller Museum Otterlo, Stedelijk Museum Schiedam and Elgiz Museum of Contemporary Art Istanbul.

followed by an explanatory note. Oxford, Museum of Modern Art, 1973. Softcover, stapled bound, 18 x 11 cm, 4 pp. Beautiful artists’ booklet printed with miniature photos of numerous items with handwritten captions. Near mint copy.

Periodical for modern art published by 12 Dutch museums and cultural centers such as Stedelijk Museum Amsterdam, Van Abbemuseum, Boymans, Gemeentemuseum Arnhem, Kröller Möller, hedendaagse kunst Utrecht et al. Stapled softcovers, 25 x 18 cm. Text in Dutch with English summaries. Design by Jurriaan Schrofer. (1) Year 1970, series 15, No. 1-6. Bright red and pink covers. Fading to spine, fine copies. (2) Year 1971, series 16, No.1-6. Contains some special items such as Seth Siegelaub's 'Artist's Reserved Rights Sale Agreement', 8 pp. inlaid in 16.4 with text in English and Dutch. 16.3 features great artist contributions by stanley brouwn (1001 steps, 2 page spread), Ger van Elk, Jan Dibbets and Marinus Boezem. Mint set.

Series of 7 postcards, 10 × 15 cm, made from the remnants of volume I and II of the Wittgenstein papers. Six cards with handwritten texts in blue and red, one card is blank and an additional card functions as title sheet (the wittgenstein papers, herman de vries, eschenau 1974). Verso postmarked, with address information of addressee and stamp of de vries (and one stamp of a rabbit). The postcards were sent to Frans Haks (Utrecht), Marinus Boezem (Middelburg) and Riekje Swart (Amsterdam). The catalogue raisonnée mentions that the edition was unlimited, but only 4 sets were realized. This set derives from Frans Haks (1938-2006), at the time in charge of the Modern Art department of the Arthistorical Institute at Utrecht University, later to become director of the Groninger Museum. Catalogue Raisonné: hdv 1974.011.30a-g.

(1) Dan Graham, Installations/Photographs - Videotapes/Performances - Architectural Models - Publications/Films. Museum of Modern Art Oxford, September- 1 October 1978. Poster, 60 x 42 cm, folded twice, pinholes in corners, else fine. (2) Dan Graham, video installation. Corps de Garde, Groningen, 1978. Postcard, 10.5 x 14.5 cm. Very good copy. (3) Dan Graham, architectural Models and Photographs. Paola Betti gallery, Milan, 1979. 29.5 x 21 cm, printed black on transparent white vellum. With pinholes and wear, rare copy. (total 3)

(1) Donald Judd Leo Castelli New York March 20 - April 10 1976; Drawings Kunstmuseum Basel 14 April- 23 June 1976; Plywood Pieces Kunsthalle Bern 14 April - 30 May 1976. Printed black on thick white stock, 48.5 x 58 cm, folded twice, good copy. (2) Donald Judd Drawings 1956-76, Museum of Modern Art Oxford, 7 November - 12 December 1976. Printed black on white stock, 59.5 x 42 cm, folded twice. Moderate creasing along centre of folds, fine copy. (total 2)

(1) Victor Burgin, Hussonet. Paul Maenz, Cologne, undated 1975. (2) Pamper Yourself. Galeria Akumulatory, Poznan Poland, 1976. (3) Victor Burgin. John Weber Gallery New York, 1977. (4) Victor Burgin, Working. Museum of Modern Art Oxford, undated 1978. Poster, 60 x 43 cm, folded twice. with pinholes in corners. (5) Invitation card for the show in Oxford, 1978. (6) Victor Burgin. Van Abbemuseum Eindhoven, 1978. (7) Zoo 78. Daad gallery Berlin, 1979. (8) US 77. Liliane & Michel Durand-Dessert Paris, 1978. (9) Victor Burgin. Liliane & Michel Durand-Dessert Paris, 1984. (10) Office at Night. Orchard Gallery Derry, 1986. With 2 pinholes. (11) Promotion flyer for the publication Work and Commentary, Nigel Greenwood London, 1973. (total 11)

(1) Social Structures. Stampa Basel, 1976. (2) Living within Contained Conditions. Museum of Modern Art Oxford, 1976. (3) Four Professionals. Lisson Gallery London, 1980. (4) Two Worlds Apart. Charville Lane Estates Hayes, London, 1981. (5) The New Reality. Lecture at Tate Gallery London, 1982. (6) Meta Filter. Tate Gallery London, 1983. (7) Undercover. Arnolfini, London, 1983. (8) Vier Huizen in Den Haag. Haags Gemeentemuseum, The Hague, 1986. (9) Publishing Interventions. Victoria & Albert Museum London, 1991. (10) Conceptual Tower Harvey House. Hounslow Library Middlesex, 1991. (11) Conceptual Window. Montevideo Antwerp, 1991. (12) Living Tower. Linacre Court Hammersmith London, 1992. (13) Multiple Clothing. Daniel Buchholz Cologne, 1994. (14) Living Together. Tramway Visual Arts Glasgow, 1995. (15) A State of Agreement, Interactive Works 1962-1995. Galerie Franck & Schulte Berlin, 1995. (total 15)

(1) Colour postcard, featuring a reproduction of a photographic work by Ader from 1972 (Untitled), published by the Bas Jan Ader Estate/ Galerie Paul Andriesse Amsterdam, 1991. (2) Invitation card for the exhibition Bas Jan Ader at Museum Boymans-van Beuningen Rotterdam, 1993. (3) Invitation card for 'Thoughts unsaid, then forgotten' at Museum Het Domein Sittard, 2001. (4) Flyer for the show 'Bas Jan Ader Please Don't Leave Me' at Museum Boijmans van Beuningen, 2006. (5) Invitation card for the Bas Jan Ader show at Modern Art London, 2004. (total 5)

The Photographs 1982-2004. Schirmer/ Mosel, 2005. W. accompanying booklet and 2 orig. photogr. of Corbijn by B. van Eck loosely inserted. Hc w. dust-j. (2) Corbijn, M. Corb!no. Amst., 1994. Ed. of 1500. Hc. (3) Olaf, E. Paradise Portraits. Modern Art Gallery, 2000. Ed. of 1100. 16 postcards w. portrait by Olaf recto in orig. wr. -and 3 others. All in excellent condition. From the archive of B. van Eck. (total 6)

NEVIN HOLMES (TURKISH) AN 18CT GOLD RING INSET WITH A PEARL, Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 32.81gmThe gold tested 18ct. 28mm x 25cm

NEVIN HOLMES (TURKISH) AN 18CT GOLD ABSTRACT ANKLET OR LEG BROOCH, Signed ‘Nevin’. Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 82gmsThe gold tested 18ct 12cm x 11cm x 6cm excluding chain.

NEVIN HOLMES (TURKISH) A GOLD BROOCH INSET WITH QUARTZ, Signed ‘Nevin’. Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul. Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes.Weight: 40.9gmsThe gold 14ct or better 7.3cm x 3.6cm

NEVIN HOLMES (TURKISH) AN ABSTRACT PAIR OF RAW RUBY EARRINGS,6.5cm x 4cm each Born in Budapest, Nevin was the daughter of the Turkish ambassador, the niece of the Turkish poet Named Kemal and the niece of Abidin Dino of Paris, a painter closely associated with Picasso. Holmes studied painting and etching at the Central School of Arts and Crafts in London from 1958 - 1962 and gained a reputation as of the first modern jewellers to use rough, unpolished stones. She played a vital role in the British revival of jewellery as a creative art and earned a unique reputation as one of the most innovative jewellers of the 20th century in Britain. Nevin began producing her innovative designs in 1960, and her works were thereafter exhibited globally including London, America, France, Belgium and Turkey. Nevin’s works have been exhibited in some of the most prestigious galleries including the Greer Gallery in New York in 1962, the Egg and Eye Gallery in Los Angeles in 1970/1971, Goldsmith’s Hall in London and the esteemed Topkapi Museum in Istanbul. Her solo exhibition in Rome in 1960 at the LaFeluca gallery won critical acclaim. In 1961, she received the silver cup, the first prize at the National City of Marino, Italy and was the first living jeweller to have a solo exhibition at the Topkapi Museum in Istanbul.Provenance: Consigned by the niece of the acclaimed Turkish jewellery maker Nevin Holmes 52.7gms 6.5cm x 4cm each including drop.

A GROUP OF ASSORTED CERAMICS AND GLASSWARE, including a modern Belleek twin handled vase, height 21cm, a Katzhutte figure of an Art Deco style lady in a floral yellow and pink dress, on an oval base, printed factory mark and H41, height 32.5cm, a Sklo Union clear glass maze vase, height 25cm, a small quantity of Wade, Carlton Ware leaf dish, two Continental porcelain pigs in cars, groups, etc, (Qty) (Condition Report: generally in good condition)

A modern Art Nouveau style 925 white metal and two colour enamel set drop pendant necklace, 48cm

Very rare executioner's sword, sword of justice, Germany 1687. Massive steel blade with one fuller on each side. Engraving on the blade, on one side the inscription "IVSTITIA MANET IN AETERNVM 1687", on the other side "FIAT IVSTITIA AVT PEREAT MVNDVS", floral ornament and execution instruments. The Ephesus is of very high quality, made of gilded bronze with exquisite decoration. The handle is made of wood wrapped with silver wire and a velvet overlay. A superb museum quality item. A similar sword is in the Louvre Museum, Department of Objects of Art from the Middle Ages, Renaissance and Modern Times, Inventory number: P 283 306Height: 107 cm;

Scharl, Josef -- KartoffelklauberinnenPinsel in Schwarz auf bräunlichem Velin. 1934.32,5 x 45,5 cm.Unten links mit Pinsel in Schwarz signiert "Jos. Scharl" und datiert.Locker mit sparsamen Umrisslinien und Binnenstrukturen gezeichnete Strandszene, entstanden bald im Anschluss an Scharls Zeit in Frankreich. Ein Stipendium ermöglichte es dem Künstler 1930, nach Frankreich zu reisen, wo er die Werke der Spätimpressionisten kennenlernte. Nach seiner Rückkehr nahmen im beginnenden Nationalsozialismus seine Verkäufe und Ausstellungsbeteiligungen ab, die finanzielle Lage des Künstlers spitzte sich zu und ihm wurde ein Malverbot auferlegt. Trotzdem ermöglichte ihm Karl Nierendorf 1935 noch eine Einzelausstellung. Eine Einladung des Museums of Modern Art in New York, gemeinsam mit Beckmann, Scholz, Heckel und Hofer an einer internationalen Ausstellung teilzunehmen, bestärkte Scharls Auswanderungspläne. 1939 emigrierte er nach Amerika.Errata/Addenda:Entgegen den Angaben im Printkatalog lautet der Titel nicht "Muschelsucherinnen", sondern "Kartoffelklauberinnen". - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Walther, Franz Erhard -- Nachzeichnungen. Zu Nr. 28, GegenüberBleistift auf Maschinenpapier. 1967.24,5 x 20 cm.Im rechten Rand unten mit Bleistift signiert "Walther".Die Gruppe der Nachzeichnungen entstand für den Katalog zur Walther-Ausstellung in der Kunsthalle Tübingen 1972, fand schließlich jedoch dafür keine Verwendung. Diese Nachzeichnungen von Fotos zeigen die Benutzung der 58 Teile des 1. Werksatzes in mehreren Stadien. Gemeinsam mit Gerhard Richter und Sigmar Polke studierte Walther von 1962 bis 1964 bei Karl Otto Götz an der Kunstakademie Düsseldorf. Im Anschluss an diese Zeit begann der Künstler die Arbeit an seinem frühen Schlüsselwerk, dem 1. Werksatz, entstanden um 1963/70. Es handelte sich dabei um 58 Objekte aus Baumwollstoffen, Schaumstoff, Holz und verschiedenen anderen Materialien, die die Betrachter benutzen sollten, indem sie diese zum Beispiel interaktiv auffalteten und sich überstülpten, sich hineinlegten oder geometrische Formen bilden konnten. Die Präsentation dieses 1. Werksatzes im New Yorker Museum of Modern Art brachte Franz Erhard Walther den internationalen Durchbruch. Hier platzieren sich zwei Benutzer des 1. Werksatzes auf Matten oder Decken entlang einer Geraden, in unterschiedlichen Abständen einander gegenüber. – Beigegeben: Franz Erhard Walther, Nachzeichnungen, Hrsg. Veit Görner, Ostfildern 1993, vom Künstler signiert.Provenienz: Privatbesitz BerlinLiteratur: Franz Erhard Walther, Nachzeichnungen, Hrsg. Veit Görner, Ostfildern 1993, mit Abb. (o.S.) - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

A. R. Penck (1939 Dresden - 2017 Zürich) (F)Ohne Titel, Acryl auf Leinwand, 100 cm x 200 cm Leinwandmaß, signiert, partiell leicht fleckig. Das Gemälde ist im Archiv der GALERIE MICHAEL WERNER verzeichnet. Wir danken Herrn Michael Werner (Galerie Michael Werner) für die freundliche Unterstützung.Auf 2 Metern Länge dominieren zahlreiche Strichmännchen das großformatige Gemälde und lassen den Betrachter an die Anfänge der primitiven Malerei zurückdenken. Die abstrahierten menschlichen Figuren kommen ohne jede Perspektive oder Zentrierung aus und befüllen in vollkommener Flächigkeit die gesamte Leinwand. Unter Verwendung ausschließlich dreier Grundfarben: Schwarz, Rot und Blau auf weißem Hintergrund, schafft A. R. Penck in der für ihn typischen linearen Zeichensprache eine ganz eigene Bildwelt. Das symbolhafte Zeichenrepertoire ist, ebenso wie die Verwendung der drei elementaren Farben, charakteristisch für sein sogenanntes "Standard-System", welches der Künstler in den 1960er Jahren entwickelte. Pencks Formensprache besteht hauptsächlich aus zu Strichmännchen abstrahierten Figuren und Tieren, sowie Linien und Symbolen. Dieses Alphabet ist solitär in der deutschen Nachkriegskunst und zeugt deutlich von der Auseinandersetzung des Künstlers mit der Archäologie, Ethnologie und der Kunstgeschichte, denn die einzigartige Zeichensprache rekurriert auf vorzeitliche Kulturen und greift sowohl prähistorische Höhlenmalereien als auch altägyptische Hieroglyphen auf. Diesem Markenzeichen verdankt Penck den Beinamen "Höhlenmaler der Postmoderne". Ebenjenem aus Zeichen bestehendem System bediente sich der Künstler als universell verständliches Ausdrucksmittel, dass auf den ersten Blick leicht zugänglich erscheint, deren Symbole und Hintergründe für den Betrachter jedoch nie gänzlich zu entschlüsseln sind und somit Raum für die individuelle Interpretation freilassen. Einen solchen Effekt erzeugt auch das vorliegende Querformat. Die symbolhafte Malerei des Künstlers, verbindet sich auf einer Länge von 2 Metern mit modernen Piktogrammen zu einer gleichermaßen archaischen wie humorvollen Darstellung, dessen Decodierung dem Betrachter selbst überlassen ist - schließlich schwieg der Künstler zeit seines Lebens zur Entschlüsselung seiner Formensprache. "Auch halte ich es für völlig überflüssig, meinen Bildern noch irgendwelche Erklärungen beizugeben." (A. R. Penck, in: Kunstforum, Bd. 12, Ich über mich selbst.)A. R. Penck (1939 Dresden - 2017 Zurich) (F)Untitled, acrylic on canvas, 100 cm x 200 cm canvas dimensions, signed, slightly stained in places. The painting is listed in the archive of the GALERIE MICHAEL WERNER. We would like to thank Mr. Michael Werner (Galerie Michael Werner) for his kind support.Numerous stick figures dominate the large-format painting over a length of 2 meters and make the viewer think back to the beginnings of primitive painting. The abstracted human figures do without any perspective or centering and fill the entire canvas in perfect flatness. Using only three primary colors: black, red and blue on a white background, A. R. Penck creates a very unique world of images in his typical linear sign language. The symbolic drawing repertoire, as well as the use of the three elementary colors, is characteristic of his so-called ''standard system'', which the artist developed in the 1960s. Penck's formal language mainly consists of figures and animals abstracted into stick figures, as well as lines and symbols. This alphabet is unique in German post-war art and clearly demonstrates the artist's engagement with archaeology, ethnology and art history, as the unique sign language refers to prehistoric cultures and takes up both prehistoric cave paintings and ancient Egyptian hieroglyphs. Penck owes his nickname ''postmodern cave painter'' to this trademark. The artist used this system consisting of signs as a universally understandable means of expression that appears easy to access at first glance, but whose symbols and backgrounds can never be completely deciphered by the viewer and thus leave room for individual interpretation. The present landscape format also creates such an effect. The artist's symbolic painting, over a length of 2 meters, combines with modern pictograms to create an equally archaic and humorous representation, the decoding of which is left to the viewer himself - after all, the artist remained silent throughout his life when deciphering his formal language. ''I also think it's completely unnecessary to add any explanations to my pictures.'' (A. R. Penck, in: Kunstforum, Vol. 12, I about myself.)

Sigmar Polke (1941 Oels - 2010 Köln) (F)'Eichhörnchen', Gouache auf Papier, 100 cm x 70 cm Blattmaß, signiert, 81 datiert, montiert, Stecknadellöcher in den Blattecken, Einriss im Blattrand, minimal knickfaltig, leicht gewellt, partiell Schuhabdrücke und Eindrücke auf dem Papier, Provenienz: Sammlung Froehlich, Stuttgart, Christie's, London, 29.06.1999, Los 93, Ausstellungen: Städtisches Kunstmuseum Bonn, 15.06-28.08.1988, 'Sigmar Polke - Zeichnungen'Ab den frühen 1980er Jahren begann die figurative Kunst in Deutschland an Bedeutung zu gewinnen. Sigmar Polke bewegte in eine entgegengesetzte Richtung, hin zu verstärkter Abstraktion. Die zu Beginn der 1980er Jahre entstandenen Zeichnungen vereinen beide Strömungen miteinander. Auf großformatigen Papierbögen verschmolzen kräftige, gestische Pinselstriche mit einem schier unerschöpflichen Repertoire an figürlichen Elementen, inspiriert von der Bilderflut der modernen Lebenswelt. Motive aus der Werbung, Zeitschriften, Comics und Buchillustrationen fanden sich zu fantasievollen und oft satirisch-humorvollen Bildcollagen zusammen. Die hier angebotene Zeichnung zeigt als Protagonist ein Eichhörnchen. Der kleine, flauschige Nager versucht unter Zuhilfenahme von zwei Ästen, welche er als Stelzen nutzt, an eine hoch aufgestellte Futterschale zu gelangen, die er mit seinen großen kugelrunden Augen begierig fixiert. Eichhörnchen gelten weithin als sehr kluge und erfinderische Tiere, die sich besonders bei der Nahrungsbeschaffung geschickt anstellen. Karikaturistisch greift Polke in diesem Werk die bemerkenswerten Eigenschaften des flinken Nagetiers auf und überspitzt diese. Gewiss könnte das Eichhörnchen einfach auf die Futterschale springen. Dank ihrer außergewöhnlichen Sprung- und Flugfähigkeiten gelten die pelzigen Tiere als "Akrobaten unter den Nagetieren". Immerhin können sie mühelos bis zu fünf Meter springen und sind regelrechte Kletterkünstler. Auf humorvolle Weise hebt Sigmar Polke insbesondere die Intelligenz und Raffinesse des Tieres hervor. Denn indem das kleine Eichhörnchen zwei Äste als Stelzen umfunktioniert, schafft es eine unmittelbare Assoziation zum Stelzenlaufen. Einer über alle Erdteile verbreiteten spielerischen Aktivität!Sigmar Polke (1941 Oels - 2010 Cologne) (F)'Squirrel', gouache on paper, 100 cm x 70 cm sheet dimensions, signed, dated 81, mounted, pinholes in the corners of the sheet, tear in the margin, minimally creased, slightly wavy, partial shoe prints on the paper, Provenance: Froehlich Collection, Stuttgart, Christie's, London, 29.06.1999, lot 93, Exhibitions: Städtisches Kunstmuseum Bonn, 'Sigmar Polke - Zeichnungen', 15.06 - 28.08.1988From the early 1980s, figurative art began to gain importance in Germany. Sigmar Polke moved in an opposite direction, towards increased abstraction. The drawings created at the beginning of the 1980s unite both currents. On large sheets of paper, strong, gestural brushstrokes merged with an almost inexhaustible repertoire of figurative elements, inspired by the flood of images in the modern world. Motifs from advertising, magazines, comics and book illustrations came together to form imaginative and often satirically humorous picture collages. The drawing offered here shows a squirrel as the protagonist. The small, fluffy rodent is trying to reach a high food bowl with the help of two branches, which it uses as stilts, which it fixes eagerly with its large, round eyes. Squirrels are widely regarded as very clever and inventive animals that are particularly adept at obtaining food. In this artwork, Polke caricaturistically picks up on the remarkable characteristics of the nimble rodent and exaggerates them. Certainly, the squirrel could simply jump onto the food bowl. Thanks to their extraordinary leaping and flying abilities, the furry animals are considered ''acrobats among rodents''. After all, they can effortlessly jump up to five metres and are veritable climbing artists. In a humorous way, Sigmar Polke particularly emphasises the animal's intelligence and finesse. For by converting two branches into stilts, the little squirrel creates an immediate association with walking on stilts. A playful activity that is widespread all over the world!

Ella Bergmann-Michel, Pegel-Punkt und Pünktchen, ITusche und Gouache, teils gespritzt, auf cremefarbenem Papier mit Prägedruck "SCHOELLERSHAMMER", perforiert und unter collagiertem Passepartout. 50,6 x 49,3 cm (63 x 61 cm). Von der Künstlerin unter Glas gelegt und mit Isolierband gerahmt. Unten rechts mit Tusche monogrammiert und nummeriert 'E.B 309/32'. Rückseitig mit roter und schwarzer Tusche von Robert Michel bezeichnet "Ella Bergmann: 1932 "PEGEL-PUNKT & PÜNKTCHEN, I" 63,0 x 61,0 cm HÖHE VOR BREITE - HAMMER-Pap.+Bl: KOHI-NOOR + TUSCHE, gespritzt + Deckweiss, gelocht. Canvas-MONTAGE. Mit dem Stempel "Heimatmuseum of Modern Art SCHMELZ near 6239 GERMANY". - Sehr gut erhalten.ProvenienzGalerie Bargera, Köln; Privatbesitz Schleswig-Holstein

Ella Bergmann-Michel, WasserständeGouache, Tusche, Bleistift, Collage, und Perforation auf bräunlichem Papier, auf Platte montiert. 46 x 46 cm / 57 x 57,5 cm (Rahmenausschnitt). Unter Glas im Künstlerrahmen gerahmt. Unten rechts in der Darstellung mit Tuschfeder signiert und datiert 'E.BERGMANN 32'. Rückseitig mit dem Stempel "'Heimatmuseum of Modern Art' SCHMELZ GERMANY near 6239". - Minimal ungleichmäßig gebräunt und mit einer kleinen unauffälligen Durchstoßung mittig rechts, möglicherweise Werkstattspur.ProvenienzGalerie Bargera, Köln (Etikett auf dem Rahmenkarton); Privatbesitz Schleswig-HolsteinAusstellungenKöln 1974 (Galerie Bargera), Ella Bergmann-Michel. Robert Michel. Collagen, Zeichnungen 1917-1966, Kat. Nr. 20

Robert Michel, "esprit-huit" stud. 5Mischtechnik und Collage auf Karton und Dämmplatte. 27 x 37,5 cm. Kastenartig unter Glas gerahmt. Oben links mit schwarzer Tusche signiert, datiert und bezeichnet 'RMichel 24: OZ-TU+COL', unten links betitelt '"esprit-huit" stud: 5' sowie rückseitig bezeichnet 'Rob. Michel: COL.STUD. 5 / 1924 OZ AUF DETAILPAPIER "esprit-huit" collage Hö=27,0 x 37,5 cm alles auf Carton und Dämmplatte aufgezogen: RM' (Paraphe). Mit dem verblassten Stempel "Heimatmuseum of Modern Art SCHMELZ near 6239 GERMANY" versehen und einer 1971 datierten Widmung. - Rechts am Oberrand mit unauffälligen bräunlichen Flecken. Der kastenartige Rahmen inwändig mit wenigen Stockfleckchen.ProvenienzPrivatbesitz Schleswig-Holstein

A modern wall mirror, of Art Deco style, 80 x 90cm

A Modern Hoop Back Windsor Armchair, with pireced splat and out-scrolled arms; together with an art nouveau lamp table

A Group of Oriental China and Works of Art, including: a modern reproduction blue and white stick stand, a Japanese papier mache box, blue and white plates, pewter box and cover, wooden carving, cloisonne, a framed print after Francesco Botticini, and a silk needlework, etc. (qty)

A Large Quantity of Assorted Decorative Ceramics, including Mason's, Royal Doulton, Spode, Denby and modern Asian art (9 boxes)

Lovis Corinth, Im FischerhausÖl auf Leinwand. 91,5 x 117 cm. Gerahmt. Unten rechts rot signiert und datiert 'CORINTH (LOVIS). 1886'. - Insgesamt in gutem Zustand.Berend-Corinth 42ProvenienzHugo Helbing, Berlin; Galerie Wiltschek, Berlin (1925-1930); Hugo Helbing, München, Auktion 4. Dezember 1930, Lot 16; Bayerische Vereinsbank, München; Hugo Helbing, München, Auktion 30. Juni 1932, Lot 16; Privatbesitz, wohl Österreich; restituiert an den Bundesverband der Israelitischen Kultusgemeinden Österreichs (1995); Christie's London, Impressionist and Modern Art, 22. Juni 2005, Lot 135, verkauft im Namen des Österreichischen Israelitischen Gemeindebundes zugunsten bedürftiger Opfer des Holocaust; Privatsammlung Rancho Palos Verdes, KalifornienLiteraturKarl Schwarz, Lovis Corinth - Berlin, in: Deutsche Kunst und Dekoration, 21. Jg., Nr. 1, Oktober 1917, S. 14 mit Abb.; Alfred Rohde, Der Junge Corinth, Berlin 1941, S. 55 mit Abb. Nr. 34Das eindrucksvolle Interieur zählt zu den frühen Ölgemälden von Lovis Corinth, einem der vielseitigsten deutschen Maler der Jahrhundertwende. Von 1880 bis 1884 studierte er an der Akademie der Bildenden Künste in München und wechselte danach an die Académie Julian in Paris. Dort lebte Corinth von 1884 bis 1887 – unterbrochen von Sommeraufenthalten in München, im Schwarzwald oder im holsteinischen Panker. Das Gemälde „Im Fischerhaus“ entstand 1886 in Ellerbek bei Kiel während einer Ostseereise mit dem holsteinischen Maler Hans Olde. Das Interieur gibt Einblick in die mit warmen rotbraunen Tönen getünchte Diele eines Ellerbeker Fischerhauses. Eine junge Frau mit hochgestecktem Haar und blauem Arbeitskleid hat Fangnetze über eine Holzstange gelegt, um diese in einem mit heißem Öl gefüllten Trog, der auf einer dunkelgrün gestrichenen Holzbank vor ihr abgestellt ist, zu imprägnieren. Gleichzeitig werden die Enden der massiven Holzstange von zwei Mädchen festgehalten. Die lächelnd wiedergegebene Hauptprotagonistin scheint abgelenkt durch ein Gespräch mit ihrem Gegenüber, einem jungen Fischer, dessen Gesicht von einem Südwester verschattet ist. Eine Pfeife rauchend beobachtet er den Vorgang aus Distanz. Das gedämpfte Kolorit der Szene erinnert an Interieurs der holländischen und flämischen Malerei. Die Behandlung des Lichts und die flächige Malweise bei der Verteilung der Schlaglichter auf Haar, Gesichtern und Stoffen hat Corinth aber von den Franzosen gelernt: Natürliches Tageslicht, das durch das Fenster und einen schmalen Türspalt fällt, modelliert die Abfolge von nuancierten Braun-, Beige- und Blautönen und bringt flächige Formen zum Leuchten. Obwohl dem ostpreußischen Künstler 1885 eine Auszeichnung im Pariser Salon versagt blieb, gelang es ihm, eine 1886 entstandene erste Ölstudie zum Motiv „Im Fischerhaus“ im „Salon des Beaux Arts“ von 1887 immerhin zu platzieren (Berend-Corinth 41).

Jacobi, Rudolf -- ManhattanAquarell und Gouache auf genarbtem Velin. 1934.68 x 54,5 cm.Unten rechts mit Feder in Schwarz signiert "Rudolf Jacobi" und datiert, verso mit Bleistift von fremder Hand bezeichnet "Manhattan".Für seinen fast zeitgemäß modern anmutenden Blick auf New York wählt der Maler Rudolf Jacobi einen typischen Ausschnitt eines Straßenblocks von Manhattan. In ausgewogener Komposition und mit lockerer, stellenweise großzügiger Oberflächenbehandlung kontrastieren die niedrigeren Wohneinheiten mit den beiden Wolkenkratzern, die am Horizont in den Himmel aufragen. Die farbfrische Gouache von stattlichem Format entstand 1934, im Jahr der Gründung seiner „Annot Art School“ im Rockefeller Center, die er nach seiner Emigration 1933 zusammen mit seiner Frau Annot (Anna-Ottilie geb. Krigar-Menzel), als Fortführung ihrer Berliner Malschule „Annot“, kurzerhand neu eröffnete. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

UTAGAWA TOYOHARU: THE BATTLE OF JIUXIAN-SHAN IN CHINABy Utagawa Toyoharu (1735-1814), signed Utagawa Toyoharu kore o hakaruJapan, c. 1780Color woodblock print on paper. Horizontal oban. Signed Utagawa Toyoharu kore o hakaru; publisher Iwatoya Genpachi. Titled Kyusensan kassen no zu (The Battle Of Jiuxian-Shan In China) from the series Newly Published Perspective Pictures (Shinpan uki-e).This elaborate 'ukie' ('perspective print') on a Chinese war theme may at first seem far from 'Ukiyoe' taste. However, the scene is a realization of one of the 'Bunraku' puppet plays of Chikamatsu Monzaemon (1653-1724), most of which remained very popular through the Edo period.SIZE of the sheet 24 x 36 cmCondition: Good condition and well-preserved colors with slightly trimmed margins. Some creasing, rubbing, staining, and browning of paper, commensurate with age.Provenance: From the collection of Adolphe Stoclet (1871-1949) and thence by descent in the Stoclet family, previously in the collection of Hayashi Tadamasa (1854-1906). One red seal of the Hayashi Collection at the right margin. Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Utagawa Toyoharu (1735-1814) was the founder of the art school of Utagawa in Japan. He was born in the province of Tajima (Northern Hyogo prefecture). However, he studied in the cultural city of Kyoto relating to the art school of Kano. His early mentor was Tsuruzawa Tangei. In the 1760s, Toyoharu moved to Edo (modern-day Tokyo). Thus, new ideas entered his artistic world when he studied under Toriyama Sekien (1712-1788). Toyoharu designed many perspective prints during the later 1760s and 1770s, laying the foundations for the development of landscape prints. From the 1780s onwards he concentrated on paintings of the fashions and customs of beautiful women. He was the founder of the Utagawa School.Museum comparison:An identical print, with right hand margin trimmed so lacking title, signature, and publisher details, is in the collection of the Museum of Fine Arts, Boston, accession number 11.14708. A related diptych made using slightly different blocks (compare, e.g., the shapes of the clouds and the position of the beacon tower), is in the collection of the British Museum, museum number 1963,0731,0.6.

TSUCHIYA KOITSU: ASAKUSA KANNON TEMPLEBy Tsuchiya Koitsu (1870–1949), signed Koitsu with seal ShinJapan, dated 1933Color woodblock print on paper. Vertical oban. Signed Koitsu with seal Shin, publisher Doi Hangaten with watermark 'Doi' located on the top-left corner. Titled Asakusa Kannon-do (Asakusa Kannon Temple), number 5 in the series Tokyo fukei (Views of Tokyo).The Asakusa Kannon Temple in the evening, during a rainstorm, a woman walks in the foreground, holding an umbrella, while the ground around her shimmers as the rain hits the surface.SIZE of the sheet 39.2 x 26.6 cmCondition: Very good condition with minor wear and slight browning of paper.The enormously popular Asakusa Kannondo Temple (also known as Sensoji Temple) in Tokyo's Asakusa district figures prominently in the traditional annual calendar of events and festivals, especially during the temple visits at the New Year which attract large crowds.Tsuchiya Koitsu (1870-1949) was a renowned landscape artist and a student of the famous Meiji-era print designer Kobayashi Kiyochika (1847-1915). He gained prominence as a designer of shin hanga (Modern Prints) for major woodblock print publishers from the early 1930s to 1940. Tsuchiya Koitsu's prints were known for their dramatic use of light and interesting color effects, influenced by his teacher Kiyochika. While some critics praised his work, noting its quality on par with famous shin hanga landscape artists like Kawase Hasui, Kasamatsu Shiro, and Yoshida Hiroshi, others criticized his heavy-handed design and unconventional color sensibility.Museum comparison:An identical print is in the collection of the Art Institute Chicago, reference number 1990.607.269. An identical print is in the collection of the Syracuse University Art Museum, object number 1997.0304.Auction comparison:Compare a closely related woodblock print, sold at Sotheby's, Landscape to City: 20th Century Japanese Prints Part II, 10 May 2023, London, lot 102 (sold for GBP 3,302).

A RINPA-STYLE INLAID THREE-CASE GOLD LACQUER INRO WITH GRASSHOPPERSUnsignedJapan, 18th-19th century, Edo period (1615-1868)Of upright rectangular form and oval sectional, the three-case inro bearing a fine kinji ground and inlaid with mitsuda (pewter) and aogai to depict grasshoppers amongst autumnal grasses. The interior compartments of gold fundame.HEIGHT 6.4 cm, LENGTH 5.5 cmCondition: Good condition with minor wear, typical losses to inlays, and few tiny nicks here and there.Rinpa is a modern term that refers to a distinctive style of Japanese pictorial and applied arts that arose in the early seventeenth century and has continued through modern times. Literally meaning 'school of Korin,' Rinpa derives its name from Ogata Korin (1658–1716), a celebrated painter from Kyoto. It embraces art marked by a bold, graphic abbreviation of natural motifs, frequent reference to traditional court literature and poetry, the lavish use of expensive mineral and metallic pigments, incorporation of calligraphy into painting compositions, and innovative experimentation with new brush techniques. Transmitted by means of pattern books and manuals, the work of the Ogata Korin inspired numerous other craftsmen.Auction comparison:Compare a related three-case gold lacquer inro, similarly rendered in the Rinpa style with inlays of aogai and pewter, at Bonhams, The Edward Wrangham Collection of Japanese Art, 9 November 2010, London, lot 203 (sold for GBP 1,680).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.

Banksy (British, b. 1973) Police Riot Van (Dismaland Gift Print), 2015 Hand embellished digital print in colours Signed in black pen, with unique dedication in black pen Comprising official Dismaland program, exclusive staff wristband and original gift frame. With a copy of the workers payslip. 25 x 18cm (10" x 7") This is one of 52, all of which were gifted to Dismaland stewards from the artist's show Dismaland. Each hand signed and framed by Banksy.  Banksy (British, b.1973 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Phillips (British, b. 1937-2022)  Sing through the Hushed Ear, 1992  Screenprint proof Signed and numbered 46/50 Framed and glazed Original label to Angela Flowers Gallery PLC, London 22 x 15cm (8 2/3" x 6")  Together with the first edition (1912) of  "A HUMAN DOCUMENT"  book by W.H. Mallock (British, b. 1849-1923) Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Tom Phillips (British, b 1937-2022) A Humument - A collection of 3 different editions of "A Humument" comprising The First edition 1980, signed. The First revised edition, published 1987, signed The Second revised edition 1997 which is limited, numbered 68/100 along with a hand coloured print signed and numbered by the artist.  Tom Phillips was born in London in 1937. He attended St Catherine’s College, Oxford in 1957, where he read English and at the same time studied drawing at the Ruskin School. In 1961 he went to Camberwell School of Art where his chief source of inspiration was Frank Auerbach. He went on to teach at Bath Academy of Art, Ipswich and Wolverhampton Art College between 1965 and 1972. Phillips’s first solo show was in 1965 at the Artists International Association Gallery in London, followed by an exhibition at the Angela Flowers Gallery in 1970. He won a prize at The John Moores Liverpool Exhibition in 1969 and subsequently went on to exhibit in many solo and group exhibitions around the world. Two early exhibitions of particular significance were the 1973 showing of A Humument in its entirety at the ICA, London and the 1975 retrospective at the Kunsthalle in Basel. In 1989 he had a solo exhibition at the National Portrait Gallery (which holds his portrait of Dame Iris Murdoch) and in 1993 a major exhibition of his work was held at the Royal Academy of Arts. To celebrate his 60th birthday in 1997, retrospectives of his work were held at the Dulwich Picture Gallery and the South London Gallery. More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth. Phillips was Vice-Chair of the Copyright Council from 1985 to 1989 and was Chairman of the Royal Academy’s Exhibitions Committee from 1995. He curated the Royal Academy’s exhibition Africa: The Art of a Continent (1995) which subsequently travelled to the Martin Gropius Bau, Berlin and the Guggenheim Museum in New York. He was appointed a Member of the Royal Society of Painter Etchers and Engravers in 1987 and an Honorary Member of the Royal Society of Portrait Painters in 1999. He was an Honorary Fellow of St Catherine’s College, Oxford, Leeds University (Bretton Hall) and the London Institute as well as an Honorary Member of the Royal Institute, a Trustee of the National Portrait Gallery (from 1998) and a Trustee of the British Museum (from 1999). Phillips was also a writer and a composer. Much of his music (including the opera Irma) has been broadcast and is available on CD. Tom Phillips lived and worked in London. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shoichi Hasegawa (Japanese, b. 1929) Splendeurs sous-marines Etching on Moulin de Gue paper Signed and titled in pencil on margins Numbered EA 3/25 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Shoichi Hasegawa (Japanese, b. 1929) Riviere Bleue Etching on Moulin du Gue paper Signed and titled in pencil on margins Numbered 37/110 Framed  62 x 52cm (24" x 20.2")  Shoichi Hasegawa (Japanese, b 1929) is a contemporary Japanese abstract painter and printmaker. His watercolors, transparent yet dense and symbolically coded, are influenced by Lyrical Abstraction and artists like Mark Rothko and Paul Klee. He employs soft, pastel palettes and layered textures to create works that reflect the laborious process that goes into their making. Born in Yazu, Japan in 1929, Hasegawa studied drawing and painting at the Kokuga Institute in Kyoto, Japan. In 1961, he moved to Paris to work with the British artist Stanley William Hayter at Atelier 17, and began showing work internationally at that time. Today, Hasegawa’s paintings and delicate prints are in the collections of the Bibliothèque nationale in Paris, The Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Norrköpings Museum of Art, and the Museum Fuji in Tokyo. Hasegawa lives and works in Val-d'Oise, France—notably, the same place where the celebrated Impressionist master Claude Monet once lived. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Clement McAleer (b.1949) Paths Over A Hillside, 1985 Oil pastel on paper painting Notations to the verso in black pen Framed and glazed 124 x 103cm (48.5" x 40.5") Clement McAleer was born in Co. Tyrone, Northern Ireland. After Foundation Course in Belfast (1971-72) he studied Fine Art at Canterbury College of Art (1972-75) and the Royal College of Art, London (1975-78). He was awarded the J Andrew Lloyd Award for Landscape Painting (RCA) in 1978 before moving to Liverpool where he was a prizewinner in the John Moores Exhibition (XI). He then settled in Liverpool and was based in a studio in the Bluecoat Arts Centre for twenty five years. He kept in regular contact with his home base in Ireland over the years with residencies and holding exhibitions in various parts of the country. In 2003 he then moved  to Belfast where he joined Queen Street Studios (Belfast's oldest established artist's studio group). In 1981 he was awarded a Major Award by the Arts Council of Northern Ireland and in the same year completed a Mural commission for The Royal Liverpool Hospital. Having exhibited extensively in Dublin, Belfast, London and abroad his work has steadily entered public and corporate collections including Irish Museum of Modern Art (Dublin), Ulster Museum (Belfast), Walker Art Gallery (Liverpool), the Arts Councils of Great Britain and Northern Ireland, the European Parliament (Brussels) and Allied Irish Banks. The focus of McAleer’s paintings, primarily landscape; not the particularities of place, but rather the restless, shifting aspects of nature where cloud or water, land or sea transforms themselves atmospherically, one into another. The Irish coast is a dominate source and the memory of it lurks everywhere in the studio. Travels in Europe and America have also inspired a number of works, particularly the series of railway paintings in Italy, Germany and the Netherlands, where a stronger emphasis on structure again entered the work. Sometimes a visible grid is created and then submerged, abstracting each painting, serving also to release it slowly as the sense of ‘being there’ establishes itself. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Burton Morris (American, b. 1964) Lady With Mirror, 1990s Silkscreen print embellished with marker pen Signed in ink One off 25.5 x 17.5cm (9.7" x 6.5") Burton Morris (born 1964) is an American pop artist. Best known for his bold, graphic pop art paintings and depictions of various modern icons, his subject matter includes everyday objects that portray today's popular culture. His distinctive style is characterized by radiant outlines and vivid colours in all of his art. After graduation, Burton started a career as an Art Director in Advertising. He established the Burton Morris Studios in 1990. In 1992, Absolut Vodka selected his artwork to represent Pennsylvania for its prestigious Absolut Statehood campaign. In 1994, his paintings began to hang on the hit NBC television sitcom Friends, which continued to showcase his artwork for over ten seasons to millions of viewers worldwide. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

David Shrigley (British, b. 1968) Untitled (SOME OF MY BEST FRIENDS ARE PIGS) - One of the Four Animal series , 2019 Lithograph prints on paper 2020 Printed by Narayana Press, Published by ShrigShop, Copenhagen Unsigned and unframed  80 x 60cm (31 1/2 x 23 5/8")  David Shrigley was born in 1968 in Macclesfield, UK. He lives and works in Brighton and Devon, UK. In January 2020 the artist was awarded the decoration of Officer of the Most Excellent Order of the British Empire or OBE. His digital animations such as ‘Headless Drummer’ and ‘The Artist’ demonstrate what Shrigley calls ‘the economy of telling stories’, delivering a deftly crafted mix of dark and light through the simplest of forms. In his sculptural works, rendered in materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale. Taking Lewis Carroll's perspective of Wonderland, Shrigley enlarges objects and imbues them with curious proportions.  Shrigley was a Turner Prize nominee in 2013, following his major mid-career retrospective ‘Brain Activity' at the Hayward Gallery, London. In September 2016, his monumental sculpture ‘Really Good' was unveiled in Trafalgar Square, London for the Fourth Plinth Commission. Other solo museum exhibitions include those at Copenhagen Contemporary, Denmark (2020); Newstead Abbey Historic House & Gardens, Nottinghamshire, England (2019); Museo de arte Carrillo Gil, Mexico City, Mexico (2019); Art Omi, Ghent, New York, USA (2019); Spritmuseum, Stockholm, Sweden (2018); Deste Foundation Project Space, Greece (2018); Fabrica, Brighton, England (2018); Rose Art Museum, Brandeis University, Massachusetts, USA (2016); National Gallery of Victoria, Melbourne, Australia (2014); Pinakothek der Moderne, Munich, Germany (2014); Hayward Gallery, London, England touring to Yerba Beuna Centre for the Arts, San Francisco, USA (2013); Cornerhouse, Manchester, UK (2012); Mumbai Art Rooms, Mumbai, India (2012); Turku Art Museum, Turku, Finland (2011) and Bergen Kunsthall, Bergen, Norway (2009). Shrigley’s works are included in prominent collections internationally, including Museum of Modern Art, New York, USA; Art Institute of Chicago, Illinois, USA; Museum Ludwig, Cologne, Germany; Pinakothek der Moderne, Munich, Germany; Centre Pompidou, Paris, France; Statens Museum for Kunst, Copenhagen, Denmark; Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria; Scottish National Gallery of Modern Art, Edinburgh, Scotland; Tate, London, England; British Council, London, England; and National Gallery of Victoria, Melbourne, Australia. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

William Tillyer (British, b 1938)  York Vases - Chinese Red- 1981 Woodblock print  Edition no. 84/100 Signed and numbered in pencil bottom right Framed and glazed 77 x 62cm (30.5" x 24 5/8") William Tillyer is a celebrated British painter and watercolourist whose work has been shown frequently in London and New York since the 1970s. Tillyer was born in Middlesbrough and studied painting at Middlesbrough College of Art. He then went on to study at London's Slade School of Fine Art. He began to make radically experimental work, which raised questions about the relationship of art to the world, and of man to nature. The 1970s saw Tillyer return to printmaking with renewed vigour, using a variety of techniques - from etching to five-tone screenprinting - to create lattices that Pat Gilmour described as 'a cool and unpeopled world...in which to reflect the surrounding flux of nature'. Tillyer has been invited to work internationally in locations including Cadiz, Spain; Tobago, Republic of Trinidad and Tobago; Count Kerry, Ireland for the Cill Rialaig Project; and Melbourne, Australia. Tillyer has served as a visiting professor at Brown University in the United States, the Bath Academy of Art, and the Chelsea School of Art. Tillyer has exhibited internationally, and his work can be found in the collections of major institutions including the Brooklyn Museum and Museum of Modern Art in New York; the Art Gallery of Western Australia in Perth; the Arts Council Collection; the Middlesbrough Institute of Modern Art; and Tate and the Victoria and Albert Museum in London. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b 1960)  100% ART  Fine bone china plate with gold lustre Developed for the Holburne Museum, in collaboration with Kit Grover. Designed exclusively for the Holburne Museum in Grayson Perry’s inimitable style celebrates the exhibition The Pre-Therapy Years 21.5cm diameter (8.5") Grayson Perry (British, b.1960), British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Mario Sanzone (Italian, b. 1946) Positano Oil on canvas Signed and titled by the artist Unframed 133 x 185cm (51" x 70.5") Mario Sanzone (Italian, b.1946) attended the Fine Art Academy in his native city, where he continues to live and work. After his studies, he started and has industriously continued to take part in exhibitions, both in Italy, across Europe and the USA. Sanzone is perhaps best known for his atmospheric portrayals of the Amalfi coast, which perfectly convey the richness and atmosphere of the Mediterranean. He loves to paint the towns and cities of Europe both basking in the heat of the mid-day sun, as well as the subtle twilight effects of night. His stunning original paintings have a fascinating quality. He has taken classic Impressionism and given it a fresh, modern twist, making his style truly timeless. With his vivid palette of rich blues, greens and sparkling yellows Mario Sanzone captures the beauty of The Amalfi Coast and beyond in an extraordinary way. With twinkling lights in the distance Sanzone’s original paintings offer a unique, rarely-seen perspective of his chosen enchanting locations. Sanzone’s dazzling landscapes become increasingly abstract when viewed more closely, thanks to his amazing use of light and colour and quick brushstrokes in traditional oil paints. Sanzone has always received great acclaim from critics and the public alike, especially for his luminous palette and original technique. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Mario Sanzone (Italian, b. 1946) Positano - 2008 Oil on canvas Signed, titled and dated by the artist Mounted  133 x 185cm (51" x 70.5") Mario Sanzone (Italian, b 1946) attended the Fine Art Academy in his native city, where he continues to live and work. After his studies, he started and has industriously continued to take part in exhibitions, both in Italy, across Europe and the USA. Sanzone is perhaps best known for his atmospheric portrayals of the Amalfi coastal, which perfectly convey the richness and atmosphere of the Mediterranean. He loves to paint the towns and cities of Europe both basking in the heat of the mid-day sun as well as the subtle twilight effects of night. His stunning original paintings have a fascinating quality. He has taken classic Impressionism and given it a fresh, modern twist, making his style truly timeless. With his vivid palette of rich blues, greens and sparkling yellows Sanzone captures the beauty of The Amalfi Coast and beyond in an extraordinary way. With twinkling lights in the distance Sanzone’s original paintings offer a unique, rarely-seen perspective of his chosen enchanting locations. Sanzone’s dazzling landscapes become increasingly abstract when viewed more closely, thanks to his amazing use of light and colour and quick brushstrokes in traditional oil paints. Sanzone has always received great acclaim from critics and the public alike, especially for his luminous palette and original technique. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b. 1960)  Non-fungible Token Mug  Fine bone china plate with platinum lustre Stamped by artist estate 21.5 cm diameter (8.5") 8.9 x 12.4 x 8.5 cm (3.5" x 5" x 3.5") Weighs approximately 230g Grayson Perry (British, b 1960) is a British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Grayson Perry (British, b 1960)  The Lion Queen  Fine bone china plate with gold lustre Stamped by artist estate 21.5 cm diameter (8.5") Grayson Perry (British, b 1960), British potter who embedded in his work images of violence and other disturbing social issues.  Perry was born into a working-class family, and his interest in ceramics was kindled during childhood. By age 13 he had confided his transvestism to his diary. He studied at the Braintree College of Further Education in Essex and at Portsmouth Polytechnic in Hampshire, but it was not until the early 1980s, when he was living in a squatters’ community in London’s Camden Town, that he returned to the serious study of ceramics by way of evening art classes. At the time, he was appearing in performance pieces and art films and nursing his own aspirations as a filmmaker. He disliked the compromising and collaborating that he felt went hand in hand with filmmaking, however, and when in 1984 the first solo exhibition of his ceramic works—all created in his evening classes—sold well, he made pottery his main art form, though he continued to work in other media. From the 1990s Perry also worked in embroidery, creating such pieces as Mother of All Battles (1996), a woman’s folk costume stitched with ethnic symbols and images of weapons and killings, and Claire’s Coming Out Dress (2000). Perry was also the author of a novel, Cycle of Violence (1992). Perry achieved celebrity status in 2003 when he won the Turner Prize, one of the art world’s premier honours. His receipt of the award stirred some controversy, not only because he was the first potter to win the prize but also because of his tendency to appear in public as a cross-dresser, frequently as his alter ego, Claire, and often accompanied by his wife and daughter. In 2004 Perry mounted a solo exhibition at the Tate St. Ives museum of modern and contemporary art in Cornwall. The exhibition featured his classically shaped vases, the colourful surfaces of which served as a seductive camouflage for inscribed images and messages that were distinctly at odds with their decorative medium. Domestic violence, child abuse, pedophilia, and cultural stereotypes were some of the troubling themes that the artist habitually explored in these inscriptions. Perry acknowledged his exploitation of the decorative appeal of his pots, describing them as a “guerrilla tactic” under the cover of which “a polemic or an ideology” waited to be discovered. I Want to Be an Artist (1996), the first of his vases to be sold at auction, fetched £36,000, more than twice the presale estimate. Perry was appointed Commander of the Order of the British Empire (CBE) in the 2013 Queen’s Birthday Honours for services to contemporary art. In 2023 he was awarded a Knighthood (Knight Bachelor) for services to the Arts in the King’s New Year Honours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

New York: Harry N. Abrams, Inc. Adventure of Modern Art: Similarities and Differences in Art Images Primitive, Ancient and Modern. 368-page hardcover book with original dust cover discusses art forms with black and white photo illustrations. Artist: Otto Bihalji-MerinIssued: 1966Dimensions: 9"W x 2"D x 12"HManufacturer: Harry N. Abrams, Inc.Country of Origin: United States

New York: Lamplight Collection of Modern Art, 1975. Hardcover art book featuring Le Cabanon De Jourdan by Paul Cezanne (French, 1839-1906) on the cover. 91-pages of post-impressionism artwork from well-known artists. Georges Seurat, Albert Dubois-Pillet, Paul Signac, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United States

New York: The Museum of Modern Art, 1952. Black hardcover art book with title in gilded font. 238-pages featuring numerous of black and white photos of sculptures from notable sculptors. Antoine Bourdelle, Wilhelm Lehmbruck, Amedeo Modigliani, and many more. Artist: Andrew Carnduff RitchieIssued: 1952Dimensions: 7.75"W x 10.25"H x 1"DManufacturer: The Museum of Modern ArtCountry of Origin: United States

New York: Lamplight Collection of Modern Art, 1975. Hardcover art book depicting At The Moulin Rouge by Henri de Toulouse-Lautrec (French, 1864-1901) on the front cover. 91-pages of Parisian dancers by various famed artist. Pablo Picasso, Pierre Bonnard, Georges Seurat, and many more. Issued: 1975Dimensions: 9.75"W x 12.25"H x 0.5"DManufacturer: Lamplight Collection of Modern ArtCountry of Origin: United States

New York: New York Graphic Society Ltd., 1978. Fine Art Reproductions of Old & Modern Masters: A Comprehensive Illustrated Catalog of Art Through the Ages. Hardcover book of 598-page of discussion and color illustrations of fine art. ISBN: 0821211196. Artist: New York Graphic Society Ltd.Issued: 1978Dimensions: 10"W x 1.5"D x 13"HManufacturer: New York Graphic Society Ltd.Country of Origin: United States

Antique textile art with needlework depicting a hound in the brush over a red background. Textile is nailed to solid wood board. Fabric appears to be aged loosely woven burlap or canvas; needlework appears to be composed of wool-like floss. Piece is contained in a modern frame with white and gold brush finish and glass glaze. Sight size: 9.5"W x 8"H; frame: 13.75"W x 12"W x 1.25"D.

Max Liebermann (1847 – Berlin – 1935). „Judengasse in Amsterdam (Uilenburgersteeg, Ecke Jodenbreestraat)“. 1905Öl auf Leinwand. 40,5 × 54,5 cm (16 × 21 ½ in.). Unten rechts signiert: M Liebermann.Eberle 1905/7.–[3111] Provenienz: Eugen Panofsky (1855–1922), Berlin (seitdem in Familienbesitz, Berlin/USA; zeitweise als Leihgabe im San Francisco Museum of Modern Art)Wir berechnen auf den Hammerpreis pauschal 32% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.

HUANG JUNBI (1898-1991): 'AUTUMN MOUNTAIN LANDSCAPE', DATED 1951China, 20th century. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Inscriptions: Upper left, signed ‘Huang Junbi’, titled ‘Landscape’, and dated ‘In the Summer of the Year of Xinmao’ (corresponding to 1951). Two seals of the artist, ‘Huang Junbi yin’ and ‘Jun Weng’.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby’s Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one’s personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus became known as the ‘The Three Masters Crossing The Sea’. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)

AFTER TANG YIN (1470-1523): 'COURT LADIES AND BOYS'China, Qing dynasty (1644-1912). Ink, watercolor, and gouache on silk. Mounted on a silk brocade coated paper sheet. Finely painted, with several children playing in a palace pavilion surrounded by potted plants, a painted screen, and a garden, attended by a teacher and caretaker. The caretaker carries a small child which is holding a ruyi scepter in one hand and a double gourd in the other. Depicted are three boys playing with a bow and arrows. The teacher sitting at the writing desk with an elderly boy next to her, pointing with the back of her stylus at a manuscript laid out before them. Inscriptions: Along the upper right-hand edge dated, ‘On a fall day in the year of Wuyin,’ and signed ‘Tang Yin.’Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate.Condition: Wear, creasing, soiling, tears, some staining, small touch ups, and losses. The silk brocade with wear, creasing, small tears, and stains.Dimensions: Image size 77 x 45.2 cm, Size incl. mounting 106 x 58 cmTang Yin (1470-1523) is one of the most famous painters in the history of Chinese art. He was a pupil of the great Shen Zhou and a friend of Wen Zhengming. Tang Yin is regarded as one of the painting elites, ‘the Four Masters of Ming,’ which includes Shen Zhou, Wen Zhengming, and Qiu Ying. Tang was also a talented poet and scholar. Together with his contemporaries Wen Zhengming, Zhu Yunming, and Xu Zhenqing, they are known as the ‘Four Literary Masters of the Wuzhong Region,’ modern day Suzhou.

QI BAISHI (1864-1957): 'SHRIMP'China, dated 1944. Ink on paper. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. Superbly painted in the artist’s characteristic simple lines and spontaneous style, full of vitality and vivacity, to depict a cluster of shrimps integrated to the whole scene despite each shrimp displaying distinctive features from the other.Inscriptions: To the right margin, ‘In March of the year Jiashen (corresponding to 1944), the old man Baishi painted it at the age of eighty-three.’ 甲申三月八十三岁白石老人画. Two seals. The reverse inscribed, ‘Qi Baishi – Shrimp‘.Provenance: Czech private collection. Previously sold at European Arts Investments Ltd., Prague, 20 November 2016, lot 90 for CZK 1,800,000 (approx. EUR 110,000 converted and adjusted for inflation at the time of writing).Condition: Very good condition with minor wear and little foxing. The mounting with usual traces of wear and age.Dimensions: Image size 88 x 30 cm, Size incl. frame 202 x 46.5 cmThere is a saying in modern China’s painting community that ‘Xu Beihong is famous for painting horses while Qi Baishi is renowned for painting shrimp.’ The shrimp painted by Qi Baishi are very lifelike, vivid and dynamic, fully demonstrating the essence of Chinese ink painting, presenting the elegance, grace, charm and vivacity. His painting of shrimp was an everlasting legacy in Chinese ink painting. Qi Baishi had raised shrimp for several decades, so as to observe them closely. This contributed to his breathtaking paintings of shrimp. Later, people said metaphorically that when Qi Baishi was painting shrimp, the blank rice paper immediately turned into a stream of clean water with shrimp in Qi’s mind.Qi Baishi's early mentor in Beijing, Chen Hengke (1876–1923), counseled him to abandon his technical training and strive for a new expressive freedom through a calligraphic approach to painting. The subsequent transformation of Qi's style is illustrated by this painting. Each crustacean—like a single Chinese character—is formed through the repetition of the same conventionalized pattern of marks. Released from the need to visualize each shrimp separately, Qi thus was free to explore the abstract expressive possibilities of structure, ink tone, and composition and to achieve the direct, childlike spontaneity and naturalness that are hallmarks of his work.Qi Baishi (1864-1957) is one of the world’s most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People’s Congress.Literature comparison:Compare a closely related ink on paper by Qi Baishi, titled ‘Cluster of Shrimp,’ in the collection of the National Palace Museum, Taipei. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimp,’ in the collection of the Metropolitan Museum of Art, New York City, accession number 1986.267.212. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimps,’ in the collection of the Princeton University Art Museum, object number y1954-126. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimps Playing Around,’ in the collection of the Hunan Museum, Changsha.Auction result comparison:Type: Closely relatedAuction: Christie’s Hong Kong, 27 May 2014, lot 1536Price: HKD 2,200,000 or approx. EUR 326,000 converted and adjusted for inflation at the time of writingDescription: Qi Baishi (1864-1957), Ink ShrimpExpert remark: Note the size (100 x 34.5 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby’s Hong Kong, 9 October 2022, lot 190Price: HKD 3,024, 000 or approx. EUR 374,000 converted and adjusted for inflation at the time of writingDescription: Qi Baishi (1864-1957), Six ShrimpsExpert remark: Note the size (102 x 32.2 cm).

LIN FENGMIAN (1900-1991): 'CROW ON PINE BRANCH'China, 20th century. Ink and watercolor on rice paper. Set behind a mat and inside a wooden frame, behind glass. Boldly painted with a single crow, hunched slightly over, looking up, perched on a large pine branch with stylized pine needles protruding out of the upper right-hand register.Inscriptions: The lower left-hand corner signed and stamped with the artist’s seal, ‘Lin Fengmian’.Provenance: A Brazilian private collector. Accompanied by a copy of the declaration of authenticity from Gerald Markowitz, grandson of the artist Lin Fengmian, validating the work, signed, and dated, 12 July 2023.Condition: Good condition with minor traces of wear, creases, and small tears along the margin. The frame in very good condition with only minor wear.Dimensions: Image size 24 x 29 cm, Size incl. frame 35 x 40 cmLin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 24 October 2005, lot 927 Price: HKD 200,000 approx. EUR 38,500 converted and adjusted for inflation at the time of writing Description: Lin Fengmian (1900-1991): Lone bird Expert remark: Note the related style, the yellow beak, and the signature similarly placed. Note the similar size (35 x 35 cm).

LIN FENGMIAN (1900-1991): 'PAIR OF HERONS'China. Ink and watercolor on paper, framed. Depicting a pair of herons perched at the shore of a lake, fishing, surrounded by reeds, painted with vivid brush strokes, and sharp yellow beaks.Inscriptions: Lower right, signed ‘Lin Fengmian’. One seal, ‘Lin Fengmian’Provenance: A noted private collection. Previously sold at Bonhams, Hong Kong, Admiralty, Chinese Paintings, August 2022, lot 58, for HKD 255,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writing. By repute acquired from a collector who purchased the painting directly from Chung Kiu Chinese Products Emporium, which was established on Nathan Road in Hong Kong in 1958, and is a known early provenance of works by Lin Fengmian. Merchant paper label to backside with inscription: "Lin Fegmian, pair of herons". Condition: Very good condition with only minor wear, few minuscule tears, some foxing, and little creasing.Dimensions: Image size 72 x 65.5 cm, Size incl. mounting 100 x 93 cmLin Fengmian (1900-1991) is considered a pioneer of modern Chinese painting, mostly for blending Western and Chinese styles, as he was one of the earliest Chinese painters to study in Europe. He was also an important innovator in the area of Chinese art education and one of The Four Great Academy Presidents, a group of artists who were revered in the early Republic due to their effective stewardship of the art academies they presided over. Auction result comparison:Type: Closely relatedAuction: Sotheby’s London, 4 November 2020, lot 131Price: GBP 119,700 or approx. EUR 160,000 converted and adjusted for inflation at the time of writingDescription: Lin Fengmian (1900-1991), Two cranesExpert remark: Compare the closely related motif, brush strokes, color, and size (66 x 69.5 cm)