We found 3415 price guide item(s) matching your search

A Roland Hilder contained in birds eye maple frame; and a print after Monet contained in birds eye maple frame

A LARGE ASSORTMENT OF COSTUME JEWELLERY, to include a 'Betsey Johnson' necklace, a 'Mikey' snake necklace and AF earrings, a 'Monet' necklace, a 'Pilgrim' necklace an earring set, a hematite necklace, a pair of hematite earrings, assorted 'M&S' jewellery, together with a large assortment of necklaces, earrings and bracelets

A collection of jewellery to include Monet and Ciro

MONET; a gold tone and faux pearl 1980s vintage bracelet and matching brooch, a Napier gold tone bead necklace, a P.E.P vintage gold and silver tone collar, a Napier vintage green and white stone necklace and clip on earrings set, a pair of Sarah Cov gold tone earrings and three pairs of large gold tone vintage dress earrings.

Tray of assorted books, to include: Flower Arranging, Monet by himself, The County Maps of Old England, The Great Age of British Watercolours 1750-1880, the Art of Gordon Stuart etc. (B.P. 21% + VAT)

VARIOUS ITEMS TO INCLUE GOLD ON SILVER CUFFLINKS, FURTHER CUFFLINKS, TIE PINS, EARRINGS, MONET BROOCH ETC SOME BOXED

*JOHN MYATT (B. 1945) 'Morning on the Seine II' river scene after Claude Monet and bearing Monet's signature and dated (18)96 lower left, signed and numbered 29/150 by Myatt verso, embellished giclee print on canvas, 77cm x 74cm Provenance: Westover Gallery, Bournemouth.Former secondary school teacher, John Myatt, along with John Drewe, perpetrated what has been described as "the biggest art fraud of the 20th century". In 1986, John Myatt placed a classified advert in the satirical British current affairs magazine Private Eye. ‘19th and 20th-century fakes for £200’ stated the ad, heralding the birth of what was initially a legitimate business. Producing paintings to order, John painted his way through 20th century art history, commissioned by a man known as ‘Professor John Drewe’. His materials were unorthodox, including household emulsion mixed with K-Y Jelly, yet the quality of his work led Christie’s to value one of his paintings at £25,000. This was the moment that the business stopped and the crime began.Between 1986 and 1994, Myatt faked as many as 200 works by artists like Marc Chagall and Alberto Giacometti, fooling collectors and experts at Christie's, Sotheby's and the Tate Modern alike. Many of these counterfeit works found their way into private collections and public institutions in the United Kingdom and abroad. Eventually the scheme was exposed by Scotland Yard, and Myatt was sentenced to a year in HM Prison Brixton for his role in this now-legendary art fraud.Upon his release from prison, Myatt was persuaded to pick up his brush again by the detective who arrested him. In recent years, he has emulated the style of legendary artists like Henri Matisse, Pierre-Auguste Renoir, Paul Klee, Leonardo da Vinci and Vincent van Gogh. Comparing himself to an actor immersing himself in a role, he says he climbs into the mind of his chosen artist to adopt, rather than copy, their technique. In a 2005 interview with the Guardian newspaper, Myatt explained: “I try to get the artist’s work to hypnotise me. I also surround myself with lots of books. I like to know everything…where he was, what he was doing…when he was painting.”Private Collection, Dorset

Romania, MOLDAVIA, Stefan cel Mare (1457-1504), Gros, type IIb, monet moldavie, rev. stefanvs voievo, 0.54g/3h (MBR -). Very fine £100-£120

Qty of costume / designer jewellery inc Monet, Prunella Long necklace (96cm) with baroque pearl detail etc - SOLD ON BEHALF OF THE NEW BREAST CANCER UNIT APPEAL YEOVIL HOSPITAL

Qty of costume jewellery inc antique buckles, kigu hat decoration, albert chain, Monet necklace, KEVII / Alexandra pendant etc

Willard Leroy Metcalf, 1858 Lowell/Massachusets – 1925 New YorkON THE BEACH IN LONG ISLAND, 1902Pastell auf Karton.50 x 70,5 cm.Links unten signiert und datiert „W. L. METCALF. 1902.“Im Passepartout, hinter Glas gerahmt.Blick auf einen Strand mit zahlreichen Besucherinnen und Kindern in sommerlicher Kleidung, dazwischenstehend zwei große Sonnenschirme, einer in Gelb, der andere in Rot. Auf dem dahinterliegenden blauen Meer zahlreiche Segelboote erkennbar, unter dem hohen bläulich-gelben Himmel mit weißen Wolkenformationen. Malerei in frischer Farbgebung. Anmerkung:Der amerikanische Künstler gehörte zu den ersten Stipendiaten der Schule des Museums of Fine Arts in Boston. 1883 reiste er nach Frankreich. In Paris besuchte er die Académie Julian, wo er Unterricht bei Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12) nahm. Zusammen mit Theodore Robinson (1852-1896) gründete er in der Nähe zu Claude Monet (1840-1926) eine amerikanische Künstlerkolonie. 1891 siedelte er nach New York über. Das Jahr 1904 verbrachte er in Maine und wandte seine Malerei dem Impressionismus zu. Ab 1906 hatte er beim Publikum großen Erfolg, insbesondere mit seinen Landschaften und den bevorzugten Motiven der Berkshires, Cornish, Springfield und Casco Bay. (1351624) (18)Willard Leroy Metcalf,1858 Lowell/Massachusets – 1925 New YorkON THE BEACH IN LONG ISLAND, 1902Pastel on card. 50 x 70.5 cm.Signed and dated “W. L. METCALF. 1902.” lower left.

Paul César Helleu, 1859 – 1927Der Künstler war bekannt für seine Portraits und Darstellungen von Gesellschaftsdamen der Belle ÉpoqueJEUNE FEMME ÉLÉGANTE SUR LE PONT DU BIRD, UM 1900Öl auf Leinwand.81,3 x 60 cm.Links unten signiert „Helleu“.In Profilrahmen.Der große Maler und Meister der Dry-Point-Etchings von denen wir in dieser Auktion zwei Exemplare anbieten, war auf Portraits spezialisiert und war mit James Abbott, McNeill Whistler, John Singer Sargent und auch mit Claude Monet befreundet. Zunächst portraitierte er seine Frau Alice Guérin (1869 -1921), die stets sein Lieblingsmodell blieb, doch schon bald avancierte er zum modischen Portraitmaler- und grafiker. Helleu war vom Meer begeistert und als Segler verbringt er die meiste Zeit auf einem Boot, auf dem er sich von der neuesten Damenmode und der Meereslandschaft inspirieren lässt. Helleus Stil, der sich durch Eleganz und weibliche Anmut auszeichnet, ist sowohl in Paris als auch in London und New York gefragt, wohin er ab 1902 reist und wo auch heute noch zahlreiche Sammler seine Werke schätzen.Provenienz:Christie's, 25. November 1988, Lot 76.Privatsammlung Paris.Anmerkung: Les Amis de Paul-César Helleu, Werkverzeichnisnummer: APCH HU2-1560.Literatur:F. De Watrigant, Paul -César Helleu, Paris, 2014, S. 217, Farbabbildung auf Seite 216. (13515311) (13) (†)Paul César Helleu1859 – 1927JEUNE FEMME ÉLÉGANTE SUR LE PONT DU BIRD, CA. 1900Oil on canvas.81.3 x 60 cm.Signed “Helleu” lower left.Provenance:Christie’s, 25 November 1988, lot 76.Private collection, Paris.Notes: Les Amis de Paul-César Helleu, catalogue raisonné: APCH HU2-1560.Literature:F. de Watrigant, Paul-César Helleu, Paris 2014, p. 217, colour ill. on p. 216.

Eugène Boudin, 1824 Honfleur – 1898 DeauvilleFOIRE EN BRETAGNE, UM 1865 - 70Öl auf Holz.29,8 x 41 cm.Rechts unten signiert „E. Boudin“.In vergoldetem neobarocken Rahmen.Keilrahmen mit altem Etikett mit Nummer 36, den Künstler nennend in Tusche. Außerdem mit dem alten Etikett eines Pariser Restaurators. Ein Transportetikett die Galerie Schmit in Paris nennend, ein Sammlungsetikett mit Nummer 36, ohne weitere Nennung.In diesem Gemälde ist alles gekonnt inszeniert und nach den Regeln der Zentralperspektive aufgebaut, bei der die Fluchtlinien, die Ausrichtung der Häuser auf der linken Seite, das Laub und der Schatten der Bäume auf der rechten Seite, zur zentralen Szene, namentlich einem Viehmarkt, hin konvergieren. Indem Eugène Boudin dem Motiv einen privilegierten Platz einräumt, stellt er es in einen Abstand zu unserem Blick und bietet ihm einen einleitenden Vordergrund. Rinder und Figuren sind in einem Fries konzentriert, der die Horizontlinie bildet und sinnbildlich die Natur rechts mit der Zivilisation links vermittels des Marktes zusammenführt. Auf der linken Seite sind die Kühe horizontal gestaffelt ausgerichtet, umgeben von Männern, die verhandeln, während sich auf der rechten Seite Gruppen von Frauen in einer kompakten Gruppe unterhalten. Ihre Anwesenheit ist an den weißen Flecken auf ihren Kopfbedeckungen zu erkennen, die überall zu sehen sind. Denn hier ist die Berührung des Malers wirbelnd, präzise aber leicht. So verblasst die Strenge der Konstruktion unter den Strichen eines Pinsels, der seine Farbtupfer verstreut. Dem Himmel wird, wie immer bei Boudin, ein meisterhafter Platz eingeräumt, dessen Wolken vor allem auf der rechten Seite zu finden sind, sodass hierdurch eine Beleuchtung von links bis unter die Bäume möglich und erklärbar ist.Provenienz:François Jacques Fratin, Levallois-Perret.Auktion: Me Escribe, Paris, 23. Mai 1873, Lot 3.Sammlung Durant, Paris (bei obiger Auktion erworben).Jules Strauss, Paris.Dessen Nachlassauktion, Me Chevallier, Paris, 3. Mai 1902, Lot 5 (abgebildet).Madame Adolphe Friedmann, Paris (bei obiger Auktion erworben).Von dort im Erbgang an Vorbesitzer.Anmerkung:Eugène Boudin gilt als einer der bedeutenden Vorläufer des Impressionismus. Zehnjährig zog Boudin mit seiner Familie nach Le Havre, wo er später Maler wie Constant Troyon (1810-1865), Jean François Millet (1814-1875) und Eugène Isabey (1804-1886) kennenlernte. Sie ermutigten ihn, sich als Maler selbst zu verwirklichen, worauf er 22-jährig sein Ladengeschäft aufgab und sich ausschließlich als erfolgreicher Maler betätigte. 1851 studierte er in Paris, bevor er mehrere Studienreisen in Europa unternahm. Zu seinen Malerkollegen und Freunden gehörten Gustave Courbet (1819-1877) und Claude Monet (1840-1926).Literatur:Dieses Gemälde besprochen und abgebildet in: Robert Schmit, Eugène Boudin, Paris 1973, Bd. I, S. 140, Nr. 383.Ausstellungen:Paris, Galerie Bernheim-Jeune & Fils, Exposition Eugène Boudin, November 1900, nr. 94 (dort betitelt: „Un marché en Bretagne“). (1351533) (13) (†)Eugène Boudin,1824 Honfleur – 1898 DeauvilleFOIRE EN BRETAGNE, CA. 1865 - 70Oil on panel.29.8 x 41 cm.Signed “E. Boudin” lower right.Provenance:François Jacques Fratin, Levallois-Perret.Auction: Me Escribe, Paris, 23 May 1873, lot 3.Durant collection, Paris (acquired at the above auction).Jules Strauss, Paris.Its estate auction, Me Chevallier, Paris, 3 May 1902, lot 5 (ill.).Madame Adolphe Friedmann, Paris (acquired at the above auction).From there, bequeathed to the previous owner.Literature:This painting is reviewed and illustrated in: Robert Schmit, Eugène Boudin, Paris 1973, vol. I, p. 140, no. 383.Exhibitions:Paris, Galerie Bernheim-Jeune & Fils, Exposition Eugène Boudin, November 1900, no. 94 (titled “Un marché en Bretagne”).

Blanche Hoschedé-Monet, 1865 Paris – 1947 GivernyDie Malerin war Stieftochter und gleichzeitig Schwiegertochter von Claude Monet und stark von diesem beeinflusstGIVERNY, LE JARDINÖl auf Leinwand.73 x 60,5 cm.In vergoldetem Prunkrahmen mit Namensplakette der Künstlerin.Mit Echtheitszertifikat BHM 19-1 von Philippe Piguet, Paris vom 7. April 2015, in Kopie.Blick in den blühenden Garten von Giverny in prächtiger Farbenvielfalt mit schmalem beigen Weg bei strahlendem Sonnenschein. Im Vordergrund weiß-violett blühende Stiefmütterchen, dahinter ein großer Busch mit Margeriten und daneben einige Rosen, im Hintergrund entlang des Weges bläuliche Bepflanzung und diverse Sträucher und den Himmel fast verdeckende Bäume in differenzierten Grüntönen. Farbenfroher Pinselduktus im Stil des Impressionismus.Provenienz:Sotheby‘s, London, vom 25. Juni 2015, Lot 423. (1302162) (18)Blanche Hoschedé-Monet,1865 Paris – 1947 GivernyGIVERNY, LE JARDINOil on canvas.73 x 60.5 cm.With certificate of authenticity BHM 19-1 by Philippe Piguet, Paris dated 7 April 2015, in copy.Provenance:Sotheby's, London, 25 June 2015, lot 423.

Dorothea Sharp, RBA, ROI (British, 1874-1955)Playmates signed 'Dorothea Sharp' (lower right)oil on canvas 71.1 x 88.9cm (28 x 35in).Footnotes:ProvenancePrivate collection, UK.Exhibited(Possibly) London, Royal Academy, 1901, no. 778.Dorothea Sharp was born on 10th January 1873 into a Quaker family in Dartford, Kent. The family timber business had been established since 1800 and its success afforded Dorothea a certain financial comfort and independence and even though her parents did not really approve, Dorothea wanted to be an artist from an early age. She enrolled at the Richmond School of Landscape Painting in 1894 under the tutelage of Charles Edward Johnson (1832-1913). Preferring to work in oil, she spent much of her time painting outside making rapid notes in her sketchbook, which she worked up later in the studio. This was to be a method which she refined throughout her career and was ideally suited to her style and choice of subject. Shortly after the untimely death of her father in March 1900, Dorothea set off for Paris with her mother Emily. Here she saw first-hand the work of the Impressionists and in particular that of Claude Monet (1840-1926) which was to have a profound and lasting effect on her work. She wrote in The Student's Book of Oil Painting, published in 1947: 'I think the young painters of this decade little realize what we owe to those great masters of The French Impressionist School.' Sharp also came to know and love the work of some of the American painters who were in Paris at the same time, notably Frank Benson (1862-1951) and Carl Frieseke (1874-1939). Upon her return to England, her reputation grew and the bright and bold depictions of children playing feeding ducks, playing at the seaside or picking flowers became more and more popular. Her colourful compositions were ideal for use as posters, which by the 1930s had become an effective and popular form of advertising. By the 1940s Sharp was famous; she had exhibited widely at many leading galleries (and over a period of 47 years at the Royal Academy alone) and her work had been purchased by an admiring public throughout the Empire. She had travelled extensively from the south of France to Algiers and from St Ives (where she spent the war years with her companion Marcella Smith) to Sussex and her circle of friends included many of the leading artists of the day. Sharp's paintings were in many ways unique, but also reflected the changing style of the times. Her rapid, confident brushstrokes were almost sculptural in the way the paint was applied to canvas, but always bound together by an innate understanding and love of colour. Weakening eyesight and creeping arthritis had begun to take their toll by the 1950s and Dorothea and Marcella moved into Blomfield Road where she died on 17th December 1955.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MONET (CLAUDE)Autograph letter signed ('Claude Monet') to art critic Gustave Geffroy ('Mon cher Ami'), reminding him he is expected at Giverny on Sunday and suggesting that he stay for dinner, ending by saying that the evening is the best time in the countryside ('...Le soir est la meilleur heure à la campagne...'), one page on a bifolium, notepaper with Parisian peacock feather watermark, discolouration, sun fading, remains of previous mounting, small repair to lower right corner, 8vo (210 x 136mm.), Giverny par Vernon, Eure, 'Jeudi 4 Juin [18]96'Footnotes:Whilst there is no identifying envelope, the recipient of this letter is believed to be Monet's good friend Gustave Geffroy (1855-1926), art critic and writer on art, literature and politics. Geffroy was an influential champion of Impressionism, known also for his writings on women artists and the decorative arts. His study Claude Monet, Sa vie, son temps, son oeuvre, Paris, 1922, was informed by his intimate friendship with Monet and his circle, and he was painted by both Rodin and Cézanne in recognition of his support.For further information on this lot please visit Bonhams.com

Late 20th Century and modern costume jewellery to include a St Justin pewter pendant and cufflinks, a D'Orlan gold tone necklace, a Sarah Cov necklace and chain, a 1976 MMA enamelled Egyptian Ankh brooch together with Butler & Wilson and Monet jewelleryLocation:R1.4

A gold plated enamel Christian Dior necklace,the Art Deco style collar, with a 'V' shape panel with a centre onyx cabochon and two rows of rhinestones, with black and ivory colour enamel sections, to a gold plated chain, clasp marked Chr.Dior, together with a gold plated Christian Dior brooch,of bow design, with a series of rhinestones alternating to chevron panels, to pin and roller catch, marked Chr.Dior,and a quantity of costume jewellery,to include a gold plated Grosse brooch of abstract design, a pair of Cameo earrings by Coreen Simpson, a necklace and a brooch signed Monet, and assorted necklaces, earrings, etc (qty.)Condition ReportDior necklace:Some pits and scratches to the enamel.Evidence of repair to one link.Dior brooch:Some pits and marks to the chevron sections.Pin secure in catch.

Robin Rive teddy bears, two including 'Jenna' limited edition no.12 of 60, 26cm; 'Madame Monet' limited edition no.10 of 200, 40cm, both with tags.Qty: 2

Interior Design - Lucian Freud exhibition poster, 96cm x 66cm, framed; others, Van Dyck, Royal Academy of Arts; Who's Afraid of Virginia Woolf?, Tate Gallery; Chardin; a Hotel Danieli poster; Monet prints; all framed (7)

A selection of quality costume jewellery comprising a purple cabochon stone set Trifari goldtone bracelet, in the form of fronds of Ivy, with matching ear clips and a matching brooch (in as found condition due to broken pin) with a Joan Collins signed box, a set of peach coloured 1980s costume jewellery, with a bow brooch by Trifari and an extendable necklce by Monet and other unnamed matching items, plus a selection of diamante and aurora borealis glass jewellery. Items are in five small boxes. (5)

A 19th Century Needlework Sampler, worked by Mary Ann Mitchell, aged 11,1848, depicting a classical building, flowers in vases, and a passage titled 'time', 72cm high by 65.5cm wide including frame; together with a print after Claude Monet (2)

A QUANTITY OF DIAMANTE COCKTAIL JEWELLERY AND OTHER DRESS JEWELLERY TO INCLUDE EARRINGS, PENDANT, MULTI STRAND NECKLACE, MONET PEARLS, ETC.

A large collection of mainly Monet costume jewellery, including earrings, necklaces and Trifari costume jewellery, along with other pieces

A collection of silver and costume jewellery including pocket watches, bangles, Monet pearls, some medals and other itemsCondition Report: Silver gross weight 170 gramsSilver pocket watch gross weight 55.6 grams

Quantity of various artists large reference books, inc. The Art of Walt Disney, four volumes of Monet, The Age of British Watercolours etc.good

A Cobridge Stoneware year plate for 2005, decorated in the style of Monet, impressed and painted marks, dated 2004 and numbered 3/50 verso, dia.27.5cm

A collection of costume jewellery including a pair of silver and amber earrings, (one chipped both abraded) silver drop earrings, silver and hawks eye ring etc, pearl necklace, two brooches, one marked lea Stein, Trifari earrings, Monet brooches, Sarah Coventry brooch etc, bead necklaces etcFurther details: wear and tear commensurate with age .

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957) A WEST COAST HARBOUR A WEST COAST HARBOUR - REVISED TO GOURDON HARBOUR (see notes)oil on board, signed, titled label versoframedimage size 39cm x 46cm, overall size 51.5cm x 58.5cmProvenance: Private Scottish collection.Label verso: Ewan Mundy Fine Art, Glasgow. Although titled on gallery label verso, it's very evident that the scene is Gourdon Harbour (Aberdeenshire) and it's likely that "West Coast Harbour" was a "gallery title". Milne painted at Gourdon, Aberdeenshire in the summer of 1935 on holiday with the Gauldie family. Two of his Gourdon paintings (one oil – no. 36; and one watercolour – no. 35) were part of the John Maclauchlan Milne Loan Exhibition at The Roseangle Gallery in Dundee June/July 2022.Note: Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer). On 17th April 2022, lot 213 "Cafe Paris" (a 25.5 x 34cm oil on board) sold in The Scottish Pictures Auction for £30,000 (hammer).

Hermes- A 1989 Giverny silk scarf designed by Laurence Bourthoumieux, a tribute to Claude Monet who settled in Giverny in 1883, having a blue border with pink, yellow and pink Monet garden scene, 90cm x 90cm with hand rolled edges. Location:RAB CabCondition: Several small stains in one area, hardly noticeable-see photos

Mixed Retro 1960's and 1970's beaded costume jewellery to include 'sweetie' clip on earrings such as D'Orlan and Attwood & Sawyer examples and others, mixed brooches to include an Orena, Paris example, L Chance, Canada, Monet, silver, a Thai Niello oval brooch example and 2 silver chains. Location:R1.4

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children. 

CAILLEBOTTE GUSTAVE: (1848-1894) French painter who was a member and patron of the Impressionists. Caillebotte is also remembered for his early interest in photography as an art form. A fine, scarce A.L.S., G Caillebotte, three pages, 8vo, n.p. (Petit-Gennevilliers, near Paris), n.d. ('Mardi'; June 1883), to [Claude Monet] ('Mon cher ami'), in French. Caillebotte writes a friendly letter to his fellow artist, making reference to his work and other painters, in full, 'Depuis deux mois que je suis ici j'ai travaille autant que j'ai pu, mais tout ce que je fais est bien mauvais. Je suis en plein dans le paysage. Il me semble que je n'ai jamais vu un printemps si beau. J'ai voulu faire toutes especes d'arbres en fleurs mais cela dure si peu et c'est bien difficile decidement. Si vous voyiez la digue en ce moment vous seriez ebloui. Renoir est ici depuis trois semaines ou un mois. Il fait le portrait de Charlotte qui sera tres joli. Justement au moment ou j'ai recu votre lettre nous parlons de vous et nous disions Monet doit en abbatre joliment en ce moment. Il parait que c'est le contraire, mais quelle belle annee tout le meme. Je vous ecrirai quand nous descendrons a la mer. Ce sera du 1er au 15 juillet. Nous nous arreterons toujours a Vernon et par consequent je pourrai vous voir. J'ai ete l'autre soir a l'exposition de Sisley. Il commence a y avoir moins de monde a Paris. Tout a vous' (Translation: 'In the two months that I have been here I have worked as much as I could, but everything I do is very bad. I am right in the landscape. It seems to me that I have never seen such a beautiful spring. I wanted to do all kinds of blossoming trees, but they last so little time and it's definitely very difficult. If you saw the dam right now you would be dazzled. Renoir has been here for three weeks or a month. He does the portrait of Charlotte which will be very pretty. Just when I received your letter, we were talking about you, and we were saying Monet must be having a pretty good time right now. It seems that it is the opposite, but what a great year all the same. I will write to you when we go down to the sea. It will be from the 1st to the 15th of July. We will always stop in Vernon and therefore I will be able to see you. I was the other evening at the Sisley exhibition. There are beginning to be fewer people in Paris. All yours'). Autograph letters of Caillebotte are scarce as a result of his untimely death at the age of 45 and the present example is particularly desirable for its wonderful association and references to Renoir and Sisley. About EX Claude Monet (1840-1926) French Impressionist painter. Pierre-Auguste Renoir (1841-1919) French Impressionist painter. Renoir was a frequent visitor at Petit-Gennevilliers where, as well as painting, he and Caillebotte engaged in far ranging discussions on art, politics, literature and philosophy.  Charlotte Berthier (1863-?) was a life-long companion of Caillebotte, to whom he left a sizeable annuity. Renoir's 1883 portrait of her, referenced in the present letter, is held by the National Gallery of Art in Washington DC. Alfred Sisley (1839-1899) French-born British Impressionist landscape painter. In June 1883 seventy of Sisley's paintings were exhibited by the art dealer Paul Durand-Ruel in his Paris gallery.

MONET CLAUDE: (1840-1926) French Impressionist painter. A.L.S., Claude Monet, four pages, 8vo, Giverny par Vernon, 11th June 1920, to Gustave Geffroy ('Mon cher ami'), in French. Monet writes in pale purple pencil and states that he is late in thanking his correspondent for their last books and continues to remark 'Je reserve mes forces pour toujours travailler a mes decorations quand la chaleur n'est pas trop forte dans mon atelier a part cela je me porte a merveille.....Naturellement je ne bouges plus d'ici et n'en bougerai plus.....ce qui me prive de vous voir avec quelques amis' (Translation: 'I reserve my strength to always work on my decorations when the heat is not too strong in my studio, apart from that I am doing wonderfully…..Of course I do not move from here and will not move again….which deprives me of seeing you with some friends'), further adding 'J'ai quelques fois de vos nouvelles par votre grand ami Clemenceau qui lui vient assez souvent mais qui ne parvient pas a vous amener avec lui. Je sais que vous avez ete assez souffrant mais que vous allez mieux et que vous etiez aller avec un ami au bord de la mer en Normandie' (Translation: 'I hear of you a few times through your good friend Clemenceau who comes often but who does not manage to bring you with him. I know that you have been quite unwell but that you are better and that you went with a friend to the seaside in Normandy') and concluding by asking Geffroy to send news of himself as it is always pleasant to hear from him. Accompanied by the original envelope hand addressed by Monet. A few very light, extremely minor creases, VG Gustave Geffroy (1855-1926) French journalist and art critic, a friend of Monet and one of the first historians of the Impressionist art movement.  Georges Clemenceau (1841-1929) French Prime Minister 1906-09, 1917-20. Clemenceau was a long-time friend and supporter of Monet and wrote a biography of the artist.

MONET CLAUDE: (1840-1926) French Impressionist Painter. A.L.S., `Claude´, two pages, 8vo, grid paper, n.p. [Rouen], Tuesday evening, n.d. [1892], in French. The present letter was most probably sent to members of his own family, at the time Monet was at Rouen painting his famous series of the Cathedrals of Rouen. Monet states `J´ai votre lettre, en arrivant prenez une voiture pour arriver plus vite car s´il fait soleil pour déjeuner sans me soucier de vous à onze heures devant être au travail à midi jusqu´à deux heures, s´il fait couvert comme j´en ai peur, je vous attendrai…´ (“I have your letter, on arrival take a car to get there faster because if it is sunny for lunch, without worrying about you at eleven o'clock, having to be at work at noon until two o'clock, but if it is overcast like I I'm afraid it will be, I'll be waiting for you...”) Monet further refers to his difficult working day and regrets being so busy, saying `Moins bonne journée aujourd´hui. J´aurais été content de vous voir arrive et pensais à chaque instant vous voir. En hate, baisers à tous´ (“Less good day today. I would have been happy to see you arrive and was always thinking of seeing you. In haste, kisses to all of you”) The second page is cut in half, irregularly torn up, although not affecting the text or signature. Overall age wear, creasing and few tears to edges. FR 

Late 19th century and 20th century art including Degas, Gauguin, Monet, Whistler, etc, (35 volumes approx)

After Claude Monet - small print, together with one other (2)

A box of prints including 'On The Beach' by Dame Laura Knight, Monet floral print, Helen Bradbury 'Gathering Blackberries', oil on board seascape. large oil on board 'Red Sails' signed lower left LIOM, unframed watercolours of continental street scenes etc.

A PAIR OF 'SPOTTED BAMBOO' FAMILLE ROSE DISHES, EARLY QIANLONG PERIODChina, circa 1740. The dishes with openwork sides in the form of overlapping rings imitating spotted bamboo (xiangfei zhu), enameled in yellow and brown. The center decorated with peonies, chrysanthemums and butterflies superbly painted in crisp enamels, enclosed by a floral diaper band, detailed with radiating lines within cells on a green ground with horizontal lines. (2)Provenance: Sotheby's, London, 6 November 1973, lot 132. Dr. Anton C.R. Dreesmann, acquired from the above. Christie's, London, 10 April 2002, lot 374, sold for GBP 3,525 or approx. EUR 7,800 (converted and adjusted for inflation at the time of writing). S. Marchant and Son, London, 2002. Richard and Maxine Markell, acquired from the above. A copy of the original invoice from S. Marchant and Son, London, dated 14 June 2002, dating the plates to circa 1740, and stating a purchase price of GBP 6,500 or approx. EUR 14,500 (converted and adjusted for inflation at the time of writing), accompanies this lot. Each dish with two old inventory labels from the Dreesmann collection to the base, one dish further with a label 'Marchant London Qianlong 1736-1795'. Dr. Anton C.R. Dreesmann (1923-2000) was a third-generation member of the founding family of the biggest Dutch department store, Vroom & Dreesmann, and a passionate collector, amassing over 1,300 works of art, including the famous 'Waterloo Bridge' by Claude Monet. Condition: Very good condition, superbly enameled and with only light wear, manufacturing flaws including minor warping, pitting, dark spots, glaze recesses, and few firing cracks.Weight: 316.6 g and 312.2 g Dimensions: Diameter 21.4 cm and 21.2 cmXiangfei zhu, or spotted bamboo, a native plant of Hunan, Henan, Jiangxi and Zhejiang, refers to several types of bamboo with stems that are mottled by dark spots. The stems of the spotted bamboos are generally esteemed for making the handles of Chinese brushes, used for calligraphy and painting. Early examples from brushes made of spotted bamboo date back to the 8th century, Tang dynasty, and were highly valued in China as well as Japan, as can be seen from objects imitating spotted bamboo in the Shosoin (treasure house) in Japan.Literature comparison: Compare a closely related dish with openwork rim, late 17th to early 18th century, in the collection of the Metropolitan Museum of Art, accession number 79.2.1037.乾隆早期一對粉彩湘妃竹紋開光花開富貴盤子中國，約1740年。折沿淺腹盤，圈足。折沿鏤空連環狀，琺瑯彩黃褐相間，如湘妃竹紋理。盤中開光描繪富貴花開圖，牡丹、菊花，四周蝴蝶飛舞。 (2) 來源：倫敦蘇富比，1973年11月6日；Dr. Anton C.R. Dreesmann購於上述拍賣；倫敦佳士得，2002年4月10日，lot 374，售價 GBP 3,525，折合為現今EUR 7,800 (根據現今通貨膨脹率)；倫敦S. 3月ant and Son，2002年；Richard and Maxine Markell，購於上述藝廊。隨附倫敦S. Marchant and Son藝廊2002年6月14日出具的原始發票複印件，上面斷代為約1740年，售價 GBP 6,500 ，折合為現今 EUR 14,500 (根據現今通貨膨脹率)。每個盤子底部都有Dreesmann 收藏標籤，一個上面可見 '3月ant London Qianlong 1736-1795'。 Dr. Anton C.R. Dreesmann (1923-2000) 是荷蘭最大百貨公司 Vroom & Dreesmann 創始家族的第三代成員，也是一位忠實的收藏家，收藏了 1,300 多件藝術品，包括莫奈 Claude Monet 著名的“滑鐵盧橋”。 品相：狀況非常好，釉色精美，輕微磨損，製造缺陷包括輕微翹曲、點蝕、黑點、釉面凹陷和少量燒製裂紋。 重量：分別爲316.6 克與 312.2 克 尺寸：直徑分別為 21.4 厘米與 21.2 厘米 文獻比較： 比較非常相近的十七世紀晚期至十八世紀早期鏤空雕刻彩盤，收藏於大都會藝術博物館，館藏編號79.2.1037。

Costume and silver jewellery including Miracle brooch, Mexican silver bracelet, matching earrings and brooches, Monet necklace and earrings, silver necklaces, silver ring set with a garnet, etc

 Collection of costume jewellery including Monet bangle, necklace and bracelet, Ralph Lauren necklace, faux pearls, watches, etc

A collection of jewellery including Trifari necklace, Monet necklaces, Swarovski ring and brooch, diamanté earrings, etc

A selection of costume jewellery to include Monet, silver items, pearls, a 9ct hallmarked gold chain, gross wt. 3.3g together with a circular trinket box and a plated cigar holder.

Tessa Traeger,British b. 1938-Homage to Monet, 1989;C-type print on wove,image: 38.5 x 39.5 cm,(framed)(ARR)

20th Cent. oil on canvas - signed Walter Wanten || WANTEN WALTER (1936 - 2003) olieverfschilderij op doek : "Hof van Monet" - 70 x 80 getekend

A collection of reference books particularly specialising in glass to include "Tiffany" by Louis Comfort, "Warman's Lalique", "The art of Rene Lalique", "Essential Monet", Twentieth Century Antiques etc. (14)

oil on canvas, signedframedimage size 29cm x 59cm, overall size 43cm x 73cm Provenance: Christies, London, Lot # 169. 3rd March 2005 sold for £5760 (incl Premium)Note: Ken Howard paintings are about three things. It is about revelation, communication and celebration. By revelation he means giving people a way of seeing, revealing the world around them in a way they have never seen before, opening their eyes. By communication he means revealing the world with a personal language, speaking directly in an instantly recognisable style. He wants it to celebrate life whether it be human dignity expressed by Velasquez or Cezanne, or the wonders of nature expressed by Corot or Monet. For Ken his main inspiration was light and it is through light that he wanted to celebrate his world.

A small quantity of costume earrings including Monet, and Trifari examples etc

A large selection of Art and Travel books, including Monet, Chagall, Picasso etc (a lot)

Gold tone and plated jewellery including a Monet necklace, bracelet and earrings, etc.

Vintage gold tone and other costume jewellery, Danish plastic choker and bracelets, most pieces named inc. Monet, Sarah Coventry, Rosie Fox owl bracelet etc

Large quantity of Reference books including, Turner, Monet Renoir, etc t/w reference books on Art Deco and Art Nouveau.

Art Books - a vast collection of art reference books, mostly hardbacks including works by the classics e.g Monet, Picasso and more contemporary artists including Paula Rego, Matisse, some exhibition ephemera, (6 boxes)

Modern reproduction print, Claude Monet, Chasse-maree a L'Ancre Rouen with green mount and contemporary green frame

A 'SWAROVSKI' NECKLACE AND OTHER ITEMS, a 'Swarovski' necklace product number 928365, together with signed box, a pair of Monet earrings, fitted with yellow metal post and scrolls, stamped 375, two Mary Gregory style glass vases, a small assortment of costume jewellery, a hand painted glass vase, six fashion watches, names to include Gemtime, Le Chat, Swatch, Parpor, together with two addition ornamental glasses (condition report: Swarovski necklace unused, watches not currently running, not tested)

A SELECTION OF SILVER AND COSTUME JEWELLERY, to include a silver hinged bangle, decorated with a floral design to the front, fitted with a push piece clasp with hidden safety bar, hallmarked 'Herbett Bushell & Son Ltd' Birmingham, a white metal charm bracelet, fitted with nineteen charms in forms such as enamelled shields, post box, coins, teapot, bike etc most with marks to indicate silver, fitted with a heart padlock clasp stamped 'Silver', a 9ct metal core hinged bangle, decorated with a floral pattern, push piece clasp with additional safety chain, a fine trace chain with spring clasp stamped 9ct, approximate chain weight 1.0 grams, two 'Monet' signed costume chain necklaces, with signed 'Monet' box, aura borealis bead necklace, two ladies 'Rotary wristwatches with box, plastic bead necklaces, various brooches, together with a small wooden jewellery with contents of costume jewellery (condition report: general light wear, overall condition good)

Costume jewellery including Ciro and two Monet necklaces

A Monet Ltd. Hong Kong cream two piece suit, 40" chest approx.

ALBERT MARIE LEBOURG (French, 1849-1928):  'Le Pont Neuf' and 'Le Pont Marie', a pair of oils on panel (the latter signed lower left). (Panels 14.25  x 23.5 cm). Titled verso on Arthur Tooth & Sons Ltd. (31 Bruton Street) paper labels.  (Frames 28 x 37 cm)LeBourg exhibited in 1876 with Monet, Sisley and Renoir at Le Boulevard Montmartre, and from 1890 at the Paris Salon. He worked in Paris until 1921 when he retired to Rouen. In 1903 he was honoured with the Cross of the Légion d'honneur. His works were exhibited by numerous Parisian art dealers such as Antonio Mancini in 1896,  Rosenberg in 1903 and 1906, the Georges Petit Gallery in 1918.Have been in the same family for many years. Good condition, have been well looked after. Some minor pieces of gilding away from the frames but the oils look good.

Late 20th Century clip on earrings to include gold tone and silver tone examples, Butler & Wilson, WD and Monet. Location:R2.3