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Follower of Jean Baptiste Greuze - half-length portrait study of a young girl, pastel, 46 x 39cm

David Louis Ghilchick (British 1892-1974), portrait of a woman, pastel, 37cm x 31cm

John Foster, church scene, watercolour, artist's label verso, 27 x 36cm, Continental School, lakeside scene, pen, ink and watercolour, label verso for The Albury Gallery, 19 x 31.5cm, another watercolour and two pastel pictures

Reclining nude female, coloured lithograph, indistinctly signed below in pencil, 38.5 x 49cm, and reclining nude female, pastel, 49 x 36.5cm, both framed and glazed

William Wasdell Trickett (fl. 1929 - 1939), Conjurer, pastel, signed lower left, titled and dated 1921, 52 x 64.5cm, framed and glazed

Ann Jessup 'Plums & Wine at Tournéferie' Acrylic-pastel on paper - monogrammed (l.r.) Signed artist's title-label verso, dated 1988 15" x 16" (38 x 40 cm) Frame  23¾" x 24¼" (60 x 62 cm)

Hans Hartung 1904 Leipzig - 1989 Antibes P 1959-104. 1959. Graphit und farbige Pastell. Rechts unten signiert, datiert '10/5/60' und gewidmet. Verso betitelt, bezeichnet und mit Richtungspfeil. Auf festem Zeichenpapier. 37 x 27 cm (14,5 x 10,6 in). [JS]. • Hans Hartung, einer der wichtigsten Vertreter des europäischen Informel und einer der einflussreichsten Protagonisten der École de Paris. • Der Strich ist das zentrale Charakteristikum in Hartungs facettenreichem Œuvre. • 1975 widmet das Metropolitan Museum of Art, New York, dem europäischen Protagonisten der abstrakten Malerei eine Einzelausstellung. Die Arbeit ist im Archiv der Fondation Hans Hartung et Anna-Eva Bergman, Antibes, registriert und wird in das in Vorbereitung befindliche Werkverzeichnis aufgenommen. PROVENIENZ: Galerie Stangl, München. Privatsammlung Süddeutschland (1983 vom Vorgenannten erworben). Aufrufzeit: 08.12.2023 - ca. 13.50 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONHans Hartung 1904 Leipzig - 1989 Antibes P 1959-104. 1959. Graphite and color Pastel. Lower right signed, dated '10/5/60' and dedicated. Titled, inscribed and with a directiuon arrow on the reverse. On firm paper. 37 x 27 cm (14.5 x 10.6 in). [JS]. • Hans Hartung, one of the most important representatives of European Informalism and one of the most influential protagonists of the École de Paris. • The brushstroke is the central characteristic of Hartung's multifaceted oeuvre. • In 1975, the Metropolitan Museum of Art, New York, dedicated a solo exhibition to the European protagonist of abstract painting. The work is registered in the archive of the Fondation Hans Hartung et Anna-Eva Bergman, Antibes and will be included into the forthcoming catalogue raisonné. PROVENANCE: Galerie Stangl, Munich. Private collection Southern Germany (acquired from the above in 1983). Called up: December 8, 2023 - ca. 13.50 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Miriam Cahn 1949 Basel - lebt und arbeitet in Basel schwarze kriegerinich. 2019. Pastell, Pigmente und Kreide. Auf festem Velin. Ca. 96,5 x 93 cm (37,9 x 36,6 in). Unterlagekarton: 103 x 100 cm (40,5 x 39,3 in). [AW]. • Künstlerische Auseinandersetzung mit Friedens- und Frauenbewegungen, in denen sich Cahn selbst aktiv beteiligt. • 2019 findet die Einzelausstellung 'Ich als Mensch' im Haus der Kunst in München statt. • Mit exquisiter Sensibilität setzt Cahn Farben ein, um ihren Modellen ein Gefühl von Zerbrechlichkeit und innerem Leben zu verleihen. • Arbeiten Miriam Cahns befinden sich in internationalen Sammlungen, wie u. a. im Museum of Modern Art, New York, in der Tate Modern, London, im Museo Reina Sofía, Madrid, und in der Städtischen Galerie im Lenbachhaus, München. PROVENIENZ: Galerie Meyer Riegger, Berlin. Privatsammlung Österreich (vom Vorgenannten erworben). Aufrufzeit: 08.12.2023 - ca. 16.08 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R), Folgerechtsvergütung fällt an.ENGLISH VERSIONMiriam Cahn 1949 Basel - lebt und arbeitet in Basel schwarze kriegerinich. 2019. Pastel, pigments and chalks. On firm wove paper. Ca. 96.5 x 93 cm (37.9 x 36.6 in). Backing board: 103 x 100 cm (40,5 x 39,3 in). [AW]. • Artistic examination of the peace- and women's movements, in which Cahn is actively involved. • In 2019, the Haus der Kunst in Munich showed the solo exhibition “Ich als Mensch' (I as Human). • With exquisite sensitivity, Cahn uses color to give her models a sense of fragility and inner life. • Miriam Cahn's works are in international collections like the Museum of Modern Art, New York, the Tate Modern, London, the Museo Reina Sofía, Madrid, and the Städtische Galerie im Lenbachhaus, Munich. PROVENANCE: Galerie Meyer Riegger, Berlin. Private collection Austria (acquired from the above). Called up: December 8, 2023 - ca. 16.08 h +/- 20 min. This lot can only be purchased subject to regular taxation (R), artist´s resale right compensation is due.

Franz von Lenbach 1836 Schrobenhausen - 1904 München Otto von Bismarck. 1890. Pastell. Rechts unten signiert und datiert '22ter September 1890'. Auf Karton. 57,5 x 47 cm (22,6 x 18,5 in). PROVENIENZ: Prof. Dr. Oswald Bumke (1877-1950), München. Theodor Larsen (1892-1974), Tutzing (seither in Familienbesitz). Ab den 1870er Jahren spezialisiert sich Lenbach auf das Porträtfach und wird schnell zum gefragten Porträtisten des Adels im neuen deutschen Reich nach der Staatsgründung 1871. Mit dem Bildnis des damaligen Reichskanzlers Otto Fürst von Bismarck (1815-1898) erlangt er große Bekanntheit. Im Sommer 1878 in Bad Gastein nimmt Lenbach erstmals das Porträt des Kanzlers auf, es sollen viele weitere Sitzungen folgen - Bismarck gehört zu den meistporträtierten Persönlichkeiten der Zeitgeschichte im Schaffen von Franz von Lenbach. Im Fotoarchiv des Künstlers machen Aufnahmen des Reichskanzlers den größten Bestand aus (zu unserem Motiv vgl. Gerhard Finckh (Hrsg.), Die ganze moderne Kunst über den Haufen zu werfen. Franz von Lenbach und die Kunst heute, Köln 2003, S. 172) und bekräftigen das praktisch bestehende Monopol der Bismarck-Darstellung Lenbachs, der zahllose Porträtvarianten des Kanzlers für Rathäuser, Universitätsaulen, Museen und private Salons produziert. Durch das vertrauensvolle Verhältnis zwischen Maler und Modell gelingt es Lenbach wie keinem zweiten, Bismarcks Persönlichkeit einzufangen und für die Nachwelt festzuhalten: egal ob im Staatsgewand oder in Privattracht, das markante Gesicht des Altkanzlers hat sich mit den buschigen Augenbrauen, dem dichten, die Oberlippe bedeckenden Schnauzer und den durchdringend blickenden Augen in die kollektive Bilderinnerung eingeschrieben. Jenseits von politischer Repräsentation, zeigt das Porträt in der effektvollen, einfühlsamen Manier Lenbachs die mythenumrankte Person Bismarcks in seiner Menschlichkeit. Das vorliegende Pastell entsteht ein halbes Jahr nach der Entlassung Bismarcks am 18. März 1890 durch den zwei Jahre zuvor auf den Thron gelangten Kaiser Wilhelm II. [KT] Aufrufzeit: 09.12.2023 - ca. 14.27 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz von Lenbach 1836 Schrobenhausen - 1904 München Otto von Bismarck. 1890. Pastel. Lower right signed and dated '22ter September 1890'. On cardboard. 57.5 x 47 cm (22.6 x 18.5 in). PROVENANCE: Prof. Dr. Oswald Bumke (1877-1950), Munich. Theodor Larsen (1892-1974), Tutzing (ever since family-owned). From the 1870s, Lenbach specialized in portraiture and quickly became a sought-after portraitist of the nobility in the new German Empire after the state’s founding in 1871. He achieved great fame with his portrait of the then Chancellor Otto Fürst von Bismarck (1815-1898). Lenbach made his first portrait of the Chancellor in Bad Gastein in the summer of 1878, and many more sessions were to follow - Bismarck is one of the most frequently portrayed personalities of contemporary history in Franz von Lenbach's oeuvre. Photographs of the Chancellor make up the largest part of the artist's photographic archive (for our motif cf. Gerhard Finckh (ed.), Die ganze moderne Kunst über den Haufen zu werfen. Franz von Lenbach und die Kunst heute, Cologne 2003, p. 172) and testify to the monopoly Lenbach had on Bismarck depictions, as he made countless portrait versions of the Chancellor for town halls, universities, museums and private salons. Thanks to the trusting relationship between painter and model, Lenbach succeeded in capturing Bismarck's personality and preserving it for posterity like no other: whether as statesman or in private apparel, the former chancellor's striking face with its bushy eyebrows, thick moustache and piercing eyes has become part of our collective pictorial memory. Beyond political representation, the portrait in Lenbach's effective, sensitive manner shows Bismarck, a person surrounded by myth, in all his humanity. The present pastel was painted six months after Bismarck's dismissal on March 18, 1890 by Kaiser Wilhelm II, who had ascended to the throne two years earlier. [KT] Called up: December 9, 2023 - ca. 14.27 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Karl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Bewaldete Küstenlandschaft. Um 1912. Mischtechnik auf Leinwand. Links unten signiert. Verso auf Leinwand und Keilrahmen nummeriert '140'. 110 x 81 cm (43,3 x 31,8 in). Das Werk ist im Werkverzeichnis der Pastelle Karl Hagemeisters registriert. Wir danken Frau Dr. Hendrikje Warmt, Potsdam, für die freundliche Auskunft. PROVENIENZ: Privatsammlung Norddeutschland. LITERATUR: Hendrikje Warmt, Karl Hagemeister. In Reflexion der Stille. Monographie und Werkverzeichnis der Gemälde, Berlin 2016, S. 42 (m. Abb.). Gerade in den großformatigen, gemäldehaften Pastellen Karl Hagemeisters transportiert sich die für ihn so charakteristische lyrische Naturauffassung. Die Fragilität und Flüchtigkeit des pudrigen Materials spiegelt symbolisch auch auf die Flüchtigkeit des dargestellten Eindrucks der Lichtstimmungen und Atmosphäre wider. Das Auge tastet wieder und wieder die Oberfläche ab, bleibt dabei an objekthaften Konkretisierungen und Strukturen hängen oder gleitet in die Tiefe des samtartigen Farbraumes. Dadurch wird umso mehr ein kontemplatives Schauen begünstigt, das Hagemeisters naturmystischer Auffassung des Sich-Versenkens entspricht. Eingehüllt in Luft und Licht werden auch die Betrachter:innen Teil einer Empfindung 'vom bewegten Athem der Natur, von der bewegten Stimmung über und zwischen den Dingen, vom seelischen Element der Natur', der der Mensch nicht gegenübersteht, sondern in deren belebten Organismus er selbst eingeschlossen ist (Hagemeister, Tagebuchaufzeichnungen, zit. nach: Hendrikje Warmt, Karl Hagemeister. Reflexion der Stille, Berlin 2016, S. 142). Vor allem am Ende des 19. Jahrhunderts werden die Farben, wie mineralischer Staub als reinstes Pigment in Vorstellung und Handhabung, aufgrund ihrer Leuchtkraft und ihrer matten, samtartigen Oberflächenwirkung sehr geschätzt und gerne in der Landschaftsmalerei genutzt. Im vorliegenden Pastell gewinnen Farbe und Technik immer größere Autonomie gegenüber ihrer darstellenden Funktion. Sanft bewegte Wellen, feuchter Sand und im Wind wogende Äste und Laub sind in zarter Berührung auf die Leinwand gesetzt, auf der sich die Landschaft vom konkreten Motiv in die fast körperhafte Empfindung eines kühlen Meereshauchs verwandelt. Die sich auflösenden Formen suggerieren ein Gefühl der Unbegrenztheit und Weite, in deren metaphysisch empfundener Immaterialität die Seelen des Künstlers, der Betrachtenden und der Natur verbunden sind. [KT] Aufrufzeit: 09.12.2023 - ca. 14.30 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Bewaldete Küstenlandschaft. Um 1912. Mixed media on canvas. Lower left signed. Numbered '140' on the reverse. 110 x 81 cm (43.3 x 31.8 in). The work is mentioned in the catalogue raisonné of Karl Hagemeister's pastels. We are grateful to Dr. Hendrikje Warmt, Potsdam, for her kind support in cataloging this lot. PROVENANCE: Private collection Northern Germany. LITERATURE: Hendrikje Warmt, Karl Hagemeister. In Reflexion der Stille. Monograph and catalogue raisonné of paintings, Berlin 2016, p. 42 (fig.). Karl Hagemeister's large-format, painterly pastels convey his characteristic lyrical view of nature. The fragility and fleeting nature of the powdery material also symbolically reflects the fleeting nature of the impression of the depicted light and atmosphere. The eye scans the surface again and again, lingering on object-like concretizations and structures or gliding into the depths of the velvety color space. This all the more encourages a contemplative way of looking, which corresponds to Hagemeister's natural-mystical concept of immersion. Suffused by air and light, the viewer also becomes part of a sensation 'of the moving breath of nature, of the moving atmosphere above and between things, of the spiritual element of nature', which man is not confronted with, but in its living organism he himself is enclosed (Hagemeister, Tagebuchaufzeichnungen, quoted from: Hendrikje Warmt, Karl Hagemeister. Reflexion der Stille, Berlin 2016, p. 142). Especially at the end of the 19th century, the colors, like mineral dust as the purest pigment in conception and handling, were highly valued for their luminosity and their matt, velvety surface effect and were often used in landscape painting. In the present pastel, color and technique gain ever greater autonomy over their representational function. Gently moving waves, damp sand and branches and foliage swaying in the wind are placed on the canvas with a delicate touch, transforming the landscape from a concrete motif into the almost physical sensation of a cool sea breeze. The dissolving forms suggest a feeling of boundlessness and vastness, in whose metaphysically perceived immateriality the souls of the artist, the viewer and nature are connected. [KT] Called up: December 9, 2023 - ca. 14.30 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Karl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Märkische Uferlandschaft. Um 1906. Pastell auf Papier, aufgelegt auf Karton. Rechts unten signiert. Verso auf dem Unterlagekarton bezeichnet und mit dem Künstlernamen. 63,5 x 47,5 cm (25 x 18,7 in). Die vorliegende Werk wird in das Karl Hagemeister Archiv & Werkverzeichnis der Pastelle aufgenommen. Wir danken Frau Dr. Hendrikje Warmt, Karl Hagemeister Archiv & Werkverzeichnis, Berlin, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Norddeutschland (seit zwei Generationen in Familienbesitz). 'Wenn ich in die Natur hinausgehe, und es sei auch an eine Stelle, die ich ganz genau kenne, so bin ich gar nicht imstande, mich sofort hinzusetzen und zu malen. Ich muss vielmehr immer erst längere Zeit still die Umgebung auf mich wirken lassen und mich ganz mit der Stimmung durchsättigen, die aus der gegenwärtigen atmosphärischen Verfassung sich um mich ausbreitet. Wenn ich dann den Grundton eingesogen habe, so bringe ich ihn als beherrschenden Farbakkord auf die Leinwand.“ Karl Hagemeister über seine Gemälde, zit. nach: Hendrikje Warmt, Karl Hagemeister, Berlin 2016, S. 29. Aufrufzeit: 09.12.2023 - ca. 14.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONKarl Hagemeister 1848 Werder a. d. Havel - 1933 Werder a. d. Havel Märkische Uferlandschaft. Um 1906. Pastel on paper, laid on cardboard. Signed in lower right. Inscribed and with the artist's name on the reverse of the backing. 63.5 x 47.5 cm (25 x 18.7 in). The present work will be included into the Karl Hagemeister Archive & Catalogue raisonné of pastels. We are grateful to Dr. Hendrikje Warmt, Karl Hagemeister Archive & Catalogue raisonné, Berlin, for her kind expert advice. PROVENANCE: Private collection Northern Germany (family-owned for two generations). 'When I go out into nature, even if it is to a place I know very well, I am not able to sit down and paint immediately. Instead, I always have to let the surroundings work on me for some time, become completely saturated with the atmosphere around me. Once I have absorbed the basic tone, I transfer it to the canvas as a dominant color chord.' Karl Hagemeister on his paintings, quoted from: Hendrikje Warmt, Karl Hagemeister, Berlin 2016, p. 29. Called up: December 9, 2023 - ca. 14.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Edward Cucuel 1875 San Francisco - 1954 Pasadena Waldschatten. Um 1910-20. Öl auf Leinwand. Links unten signiert. Verso auf dem Keilrahmen erneut signiert sowie betitelt. 61 x 50 cm (24 x 19,6 in). • Charakteristisches Motiv im Schaffen Cucuels, der sich vor allem den eleganten Frauengestalten in der Natur widmet • Cucuel zeigt sein malerisches Können im lebhaften Wechsel von Licht und Schatten, die die sommerliche Leichtigkeit spürbar machen • In der pastosen, impressionistischen Malweise fasziniert besonders das schillernde nuancenreiche Farbenspiel. PROVENIENZ: Privatsammlung Baden-Württemberg. Das Werk Edward Cucuels ist ab den 1910er Jahren geprägt durch eine heitere, unbeschwerte Freiluftmalerei, die er zunächst mit seinem Freund und Lehrmeister Leo Putz in Hartmannsberg am Chiemsee betreibt. Hier arbeiten die Maler über vier Jahre hinweg jeden Sommer Seite an Seite. Zuvor ist er hauptsächlich als Grafiker und Illustrator für die Presse tätig, unter anderem in den 1890er Jahren in New York, nachdem er in seiner Geburtsstadt San Francisco an der Kunstakademie und in Paris an der fortschrittlichen Académie Julian studiert hat. Ab 1914 ist Cucuel am Ammersee und anschließend am Starnberger See südlich von München ansässig, wo er eine Villa mit weitläufigem Seegrundstück besitzt. Dort führt er die zuvor gewählte Motivik fort: junge, elegant gekleidete Damen, die lässig drapiert im Grünen ihrem Freizeitvergnügen nachgehen. Im Stil unabhängiger von Putz werdend, fängt Cucuel seine Bilder durch einen ungebrochen flüssig bis flüchtigen Pinselduktus in satten Farbtönen von hoher Leuchtkraft ein. Den besonderen Reiz von Edward Cucuels Gemälden macht ihre spürbare Leichtigkeit und nonchalante Eleganz aus. Die Inszenierung der Modelle lässt die Grenze zwischen Pose und unbeobachteter Spontaneität verschwimmen, in der lockeren Ausführung erscheint die Malerei als angenehmer sommerlicher Zeitvertreib. Häufig verwendet er dabei nicht nur den Pinsel, sondern trägt die Farbe in breiten Strichen mit dem Malmesser auf, wodurch seine Motive trotz der hellen, pastelligen Farben eine solide Körperlichkeit erlangen. Insbesondere die Welt der schönen, unbeschwerten jungen Frau in sommerlicher Landschaft ist eines der erfolgreichsten Motive von Edward Cucuel. Seine Bilder vom Ufer des Starnberger Sees und dem zur Villa gehörenden Park sowie der kleinen, lichterfüllten Wäldchen im Umland sind Ausdruck einer Lebenshaltung, die gleichzeitig charakteristisch für eine bestimmte Gesellschaftsschicht ist, der der Maler in seiner vom Spätimpressionismus beeinflussten Malweise auf exemplarische Weise huldigt. Irisierende Lichtreflexe auf der weißen Kleidung der Damen, hier vor dem intensiven Grün der Zweige und des von einzelnen Sonnenflecken erhellten Erdbodens, geben der Szene jenen imaginären Zauber des optisch Entrückten, der für viele Arbeiten Cucuels aus dieser Epoche so charakteristisch ist. [KT] Aufrufzeit: 09.12.2023 - ca. 14.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEdward Cucuel 1875 San Francisco - 1954 Pasadena Waldschatten. Um 1910-20. Oil on canvas. Lower left signed. Signed, as well as titled on the reverse. 61 x 50 cm (24 x 19.6 in). • A characteristic motif in Cucuel's oeuvre, which is primarily dedicated to elegant female figures in nature • Cucuel demonstrates his painting skills in the lively alternation of light and shadow, which make the summery lightness palpable • In the impasto, impressionistic painting style, the dazzling, nuanced play of colors is particularly fascinating. PROVENANCE: Private collection Baden-Württemberg. From the 1910s onward, Edward Cucuel's work was characterized by cheerful, carefree open-air painting, which he initially pursued with his friend and teacher Leo Putz in Hartmannsberg am Chiemsee, where the painters worked side by side every summer for four years. Prior to this, he worked mainly as a graphic artist and illustrator for the press, such as in New York in the 1890s, after studying at the Academy of Fine Arts in his native city of San Francisco and at the progressive Académie Julian in Paris. From 1914, Cucuel lived on Lake Ammersee and then on Lake Starnberg south of Munich, where he owned a villa with an extensive lakeside garden. He continued the motif he had previously chosen: young, elegantly dressed ladies, casually draped and enjoying their leisure time in the countryside. Becoming more independent in style from Putz, Cucuel captured his pictures with an unbroken fluid to fleeting brushstroke in rich colors of high luminosity. The special appeal of Edward Cucuel's paintings lies in their palpable lightness and nonchalant elegance. The staging of the models blurs the boundary between pose and unobserved spontaneity; in the relaxed execution, painting appears to be a pleasant summer pastime. He often not only uses a brush, but also applies the paint in broad strokes with a painting knife, giving his motifs a solid physicality despite the bright, pastel colors. In particular, the world of the beautiful, carefree young woman in a summer landscape is one of Edward Cucuel's most successful motifs. His pictures of the shores of Lake Starnberg and the park belonging to the villa, as well as the small, light-filled woods in the surrounding countryside, are an expression of an attitude to life that is also characteristic of a certain social class, to which the painter paid homage in his late Impressionist-influenced style of painting. Iridescent reflections of light on the white clothing of the ladies, here against the intense green of the branches and the ground illuminated by individual patches of sunlight, give the scene that enraptured magic that is so characteristic of many of Cucuel's works from this period. [KT] Called up: December 9, 2023 - ca. 14.58 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Lovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Öl auf Leinwand. Berend-Corinth 248. Links oben signiert. Verso auf dem Keilrahmen mit fragmentiertem alten Etikett. 33,5 x 41,3 cm (13,1 x 16,2 in). [KT]. • Corinth ist neben Liebermann der bedeutendste deutsche Impressionist. • In seinen Stillleben entfaltet sich seine ganze malerische Kraft. • Zusammenarbeit mit seiner Frau Charlotte, ebenfalls Malerin: am 12. Oktober von Charlotte komponiert und aufgebaut und am nächsten Tag von Lovis gemalt. • Wundervolle, leichte Komposition, die mit dem pastellenen Glanz von Rosen und Perlmutt spielt. Mit einer Expertise von Prof. Hans-Jürgen Imiela (1927-2005), Mainz, vom 30. April 1994. PROVENIENZ: Sammlung Dr. Ferdinand Mainzer, Berlin/Los Angeles (seit spätestens 1932, wohl bis 1943). Familienbesitz Mainzer, Los Angeles (bis 1993: Hauswedell). Privatsammlung Bayern. LITERATUR: Hauswedell & Nolte, Hamburg, Auktion 10.6.1993, Los 172 (m. Abb.). 'Es ist recht traurig, daß es Dich so gepackt hat, mein liebes Kerlchen, aber es wird schon besser werden..Das Stillleben bleibt so stehen; morgen werde ich es wohl malen. Mach' nur, daß Du bald malen kannst. Das Stillleben ist gut angelegt und verspricht was zu werden, es ist eine schöne Kunst, wenn mann sie kann..Dein Herr Lehrer grüßt Dich und bleibt Dein Luke.' Lovis Corinth in einem Briefwechsel mit Charlotte Berend am 12. Oktober 1902. Als Schülerin von Corinth hatte Berend ein Stillleben im Atelier aufgebaut und wohl auch eine Studie danach begonnen. Sie kam nicht dazu, das Bild zu beenden. Stattdessen malte Corinth das Bild dann selbst. Aufrufzeit: 09.12.2023 - ca. 17.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Oil on canvas. Berend-Corinth 248. Signed in upper left. With fragments of an old label on the stretcher's reverse. 33.5 x 41.3 cm (13.1 x 16.2 in). [KT]. • Next to Liebermann, Corinth was the most importnat German impressionist. • His painterly strength can fully unfold in his still lifes. • Collaboration witrh his wife Charlotte, likewise a painter: composed by Charlotte on October 12 and painted by Lovis the next day. • Mavelous airy composition that plays with the pastel shine of roses and mother-of-pearl. Accompanied by an expertise from Prof. Hans-Jürgen Imiela (1927–2005), Mainz, dated April 30, 1994. PROVENANCE: Collection Dr. Ferdinand Mainzer, Berlin/Los Angeles (since 1932 the latest, presumably until 1943). Mainzer family, Los Angeles (until 1993: Hauswedell) Private collection Bavaria. LITERATURE: Hauswedell & Nolte, Hamburg, auction on June 10, 1993, lot 172 (with illu.). 'It is sad to hear that it got you so badly, my darling, but it'll get better. The still life will stay as it is, I think I'll paint it tomorrow. You just make sure you'll paint again soon. The stil life is well composed and quite promising, it's a fine art, if you are capable of it. Dear greetings from your teacher.' Lovis Corinth in a correspondence with Charlotte Berend on October 12, 1902. As student of Corinth, Berend had set up a still life in a studio and began to make a study. Since she didn't get down to finish it, Corinth painted the pciture instead. Called up: December 9, 2023 - ca. 17.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Adolf Hölzel 1853 Olmütz/Mähren - 1934 Stuttgart Lesende (Glasfensterentwurf). 1926. Farbige Kreidezeichnung über Bleistift. Links unten in der Darstellung signiert. Auf chamoisfarbenem Velin. 116,5 x 41 cm (45,8 x 16,1 in), Blattgröße. Der hier angebotene Entwurf für das Glasfenster 'Lesende' für das Bibliothekszimmer Dr. Fulda, Lauta-Werk (später VEB Aluminiumwerk Albert Zimmermann) in Lauta wird 1929 in Glas ausgeführt, wohl nicht erhalten. Das Original befindet sich im Museum Wiesbaden. [CH]. • Das lange verschollen geglaubte, originale Glasfenster zu diesem Entwurf befindet sich seit 2022 im Museum Wiesbaden. • Hölzels Beschäftigung mit den spezifischen Gestaltungselementen der Glaskunst und die Gestaltung der abstrakten Glasfenster für den Sitzungssaal der Keksfabrik Bahlsen in Hannover (1914–1918) hat in den darauffolgenden Jahren einen wesentlichen Einfluss auf die Entwicklung seiner Pastellarbeiten. • Die bei seinen Glasfensterentwürfen verwendete künstlerische Technik des Cloisonnismus, bei der verschiedene, von einer schwarzen oder farbigen Linie umrandete reine Farbtöne in Flächen nebeneinandergesetzt werden, zeigt sich nun vermehrt in seinem Schaffen. • In diesen Jahren entsteht eine wechselseitige, in motivischer und stilistischer Hinsicht sehr fruchtbare Beeinflussung zwischen Glasfensterentwürfen und Pastelltechnik. • Auch in späteren Jahren erhält Hölzel weitere Aufträge für Glasfensterzyklen, für die er die Entwürfe in Pastell ausführt, u. a. für das Stuttgarter Rathaus (1928–1929), für die Pelikan-Werke in Hannover (1932–1933) und für das Treppenhaus der Firma Maercklin in Stuttgart (1933–1934). Wir danken Dr. Alexander Klee, Wien, für die freundliche wissenschaftliche Beratung. PROVENIENZ: Dr. Wilhelm Fulda, Lauta-Werk, Lauta/Lausitz. Privatsammlung (1947 durch Erbschaft erhalten). Privatsammlung Nordrhein-Westfalen (1992 vom Vorgenannten erworben, Lempertz, Köln). Sammlung Hermann-Josef Bunte, Hamburg/Bielefeld (vom Vorgenannten erworben). AUSSTELLUNG: Hermann Stenner und seine Lehrer, Museum Haus Opherdicke, Kreis Unna, 5.9.2021-27.2.2022, S. 58 u. 162 (m. ganzs. Farbabb., S. 90). LITERATUR: Vgl. Wolfgang Venzmer, Adolf Hölzel. Leben und Werk, Monographie mit Verzeichnis der Ölbilder, Glasfenster u. ausgew. Pastelle, Stuttgart 1982, S. 273, Kat.-Nr. G III 1.1 (m. SW-Abb.). Kunsthaus Lempertz, Köln, 684. Auktion, Moderne Kunst, 21.11.1992, Los 193 a. Aufrufzeit: 09.12.2023 - ca. 16.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAdolf Hölzel 1853 Olmütz/Mähren - 1934 Stuttgart Lesende (Glasfensterentwurf). 1926. Colored chalk drawing over pencil. Signed in the image in lower left. On off-white wove paper. 116.5 x 41 cm (45.8 x 16.1 in), size of sheet. This draft for the glass window 'Lesende' for the study of Dr. Fulda, Lauta-Werk (later VEB Aluminiumwerk Albert Zimmermann) in Lauta was executed in glass in 1929. The wondow has not been preserved. The draft comes with a version of the leaded window from 2021 in a size of 107 x 33 cm. [CH]. • Hölzel's occupation with the specfic design qualities of glass art and the creation of the glass windows for the conference hall of the confectionery manufacturer Bahlsen in Hanover (1914–1918), would have significant impact on the developemt of his pastels over the following years. • The artistic technique of cloisonnism used for his glass window designs, in which color fields bordered by black or colored line are juxtaposed, became increasingly evident in his work. • In terms of style and motifs, these years were characterized by a fruitful mutual exchange betwenn glass window designs and pastels. • In later years Hölzel also received commissions for glass windows, which he drafts in pastel, among them for the Stuttgart town hall (1928–1929), the Pelikan plant in Hanover (1932–1933) and for a staircase at the company Maercklin in Stuttgart (1933–1934). PROVENANCE: Hermann-Josef Bunte Collection, Bielefeld. EXHIBITION: Hermann Stenner und seine Lehrer, Museum Haus Opherdicke, Kreis Unna, September 5, 2021 - February 27, 2022, pp. 58 and 162 (fig., p. 90). LITERATURE: Cf. Wolfgang Venzmer, Adolf Hölzel. Leben und Werk, Monographie mit Verzeichnis der Ölbilder, Glasfenster u. ausgew. Pastelle, Stuttgart 1982, p. 273, cat. no. G III 1.1 (fig.). Called up: December 9, 2023 - ca. 16.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Frederick (Fred) Stead (British 1863-1940): The Rhododrendon Walk, pastel signed 55cm x 75cmCondition Report:Good condition and strong colour, some cockling to the paper.

Arthur Lett-Haines (British 1894-1978): 'Remembering Velazquez - Seville', pastel crayon unsigned, titled on exhibition label verso 35cm x 25cmProvenance: exh. Colchester Art Society, The Minories, 1966

William Samuel Horton (American 1865-1936): Blue Mountains, pastel unsigned 47cm x 61cm Provenance: private collection, purchased Chiswick Auctions 29th June 2022 Lot 46; from the estate of the artist.

William Samuel Horton (American 1865-1936): Mountain Scene, possibly Gstaad - Switzerland, pastel unsigned 44cm x 52cm Provenance: private collection, purchased Chiswick Auctions 29th June 2022 Lot 49; from the estate of the artist.

William Samuel Horton (American 1865-1936): Evening Gstaad - Switzerland, pastel unsigned 44cm x 53cm Provenance: private collection, purchased Chiswick Auctions 29th June 2022 Lot 51; from the estate of the artist.

William Samuel Horton (American 1865-1936): Mountain Harbour, pastel unsigned 47cm x 60cm Provenance: private collection, purchased Chiswick Auctions 29th June 2022 Lot 54; from the estate of the artist.

David Greenwood (Northern British Contemporary): 'View over Staithes', pastel signed and dated '09, titled on label verso 24cm x 46cmCondition Report:Very good condition - ready to hang

John Mackie (Scottish 1953-): 'Poppies at Aigues-Mortes', pastel signed and dated '94, inscribed verso and titled on galley label 58cm x 78cm Provenance: private collection, purchased Walker Galleries, Harrogate, label verso

Stanley Royle (British 1888-1961): 'Durgan Cornwall', pastel signed l. l. in pencil titled and dated Dec. '45 in pen 25cm x 17cmCondition Report:Excellent condition, well presented, ready to hang

Rognon de la Fleche (Lady Cara Harris) (British 1865-1931): 'The Sky is full of Ladies', pastel unsigned, titled and dated c.1927 on gallery label verso 44cm x 42cm Provenance: exh. 'The Art of Rognon de la Fleche', Michael Parkin Gallery, Motcomb Street, London 1990, label verso

Brian Lindley (20thc), Interior San Marco, Venice, pastel, signed bottom left, in a gilt glazed frame. (24cmx19cm) 

Shelia Goodman P.S, Cornish Beach, pastel on paper, signed bottom left, dated 2000 artist label verso in a gilt glazed mounted frame. (21cmx27cm)

From The Estate Of Tom Owen (1949-2022) - London Assurance - an original study of Owen by Andy Milligan, drawn during Owen's appearance on Broadway in the play 'London Assurance.' Study in pastel, signed to the corner and dated 1974. Framed and glazed in a period frame. Total size: 47cm x 35cm. 

GIOVANNI BATTISTA TIEPOLO (1696-1770) A left hand study red chalk, heightened with white chalk, on paper, 25cm x 12cmProvenance: The Collection of Hugo Perlo Esq.Messrs Thos. Agnew and Sons Ltd., 1935An Artistic Family Collection, Wiltshire.Giovanni Battista TiepoloBorn in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's colour and compositions.Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionised the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply coloured figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints--the Scherzi di fantasia and the Capricci--both heavily laden with antique references.External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Würzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the Czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticised as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favour of a severe neo-classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognised today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and baroque tradition.

Derek Inwood (British,1925-2012), Cottage Interior scene with a seated lady, pastel, signed, 30x43cm, framed and glazed

JOSEPH FRANCIS PLASKETT (CANADIAN 1918-2014) STUDY OF AN INTERIOR Pastel Signed and dated '66 (lower right) 63.5 x 48.5cm (25 x 19 in.) Please note measurements do not include frame unless otherwise stated. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Some undulation of the sheet. Please note Dreweatts is not liable for damage to picture frames. Condition Report Disclaimer

MANNER OF FRANCOIS BOUCHER PORTRAIT OF A GIRL, HEAD AND SHOULDER STUDY Pastel and crayon 22.5 x 15.5cm (8¾ x 6 in.) Please note measurements do not include the frame unless otherwise stated. Condition Report: Unexamined out of glazed frame. Sheet is stuck down to the mount. Light staining most notable to the edges and dirt marks to the corners. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer

FOLLOWER OF GEORGE ROMNEY PORTRAIT OF A LADY Pastel, oval 78 x 62cm (30½ x 24¼ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: Unexamined out of glazed frame. Slight undulation to the sheet. Tear to the upper edge. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer

λ&nbspJACK MERRIOTT (BRITISH 1901-1968) THE BULLRING Pastel Signed (lower right) 25 x 31cm (9¾ x 12 in.) Unframed Provenance: Property of a gentleman Thence by bequest to the present owner Condition Report: Unframed. Stuck down to card. Old tape marks to the corners with some associated losses. In overall good original condition. Condition Report Disclaimer

Collection of vintage costume jewellery, comprising mid 20th century paste crystal pastel necklace; cabochon hardstone white metal pendant necklace; a belle epoque paste set negligee necklace (two stones missing) an Art Deco style fringe necklace; a 1930s green paste necklace; a turquoise white metal bracelet and a turquoise white metal necklac (7)

An original pastel by JOHN MACKIE title "Stroll along the Promenade". Painting size approx 20 x16 signed by the artist in bespoke Spanish frame with mount. Supplied with a replacement valuation for £1500 (free of charge). H: 71cm W: 90cm D: 4cm

Jack Kabangu (Zambian 1996-), 'Women Of The Night', 2022, unique, acrylic, oil stick and oil pastel on canvas, signed and dated to the canvas verso; canvas: 30 x 30cm canvas: 30 x 30cm  In very good condition/artist's condition No sign of paint loss or restoration Multiple sections of paint across the canvas verso, this is from time of production and is not considered damage. No apparent issues.

FLESH GORDONBritish Quad (30" x 40")Very Fine Rolled; Artist Sam Peffer Mammoth Films, 1974The striking and colorful British Quad poster offered here, measuring 30" x 40", features the outstanding work of well-known science fiction artist George Barr, whose work is famous for combining pen-and-ink line work with pastel watercolors for a vivid and unique appearance. A clean quad with only a few minor scattered crimps and light sporadic edge wear, including creasing and tiny tears.As should be evident from the title, Flesh Gordon was a campy, soft-core porn parody of the classic 1936 science-fiction serial Flash Gordon. What sets this film apart from most other porn parodies, however, is the presence of such future Hollywood special effects luminaries as Mike Minor, Greg Jein, and Rick Baker, as well as established stop-motion animators Jim Danforth and Dave Allen. This incredible infusion of talent gives the film impeccable quality that few adult films can boast. Not surprisingly, Universal, the studio that made the 1936 classic, initially objected to the film on the grounds of plagiarism, which explains the prominent disclaimer on the poster, "Not to be confused with the original "Flash Gordon." Flesh Gordon has developed a dedicated cult following in the intervening years and is now viewed more as a vintage burlesque-like parody than a routine pornographic movie. This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

ALAIN JACQUET (1939 -2008)Ma Coco 1977 monogrammé et daté 77pastel sur papier signed with the artist's monogram and dated 77pastel on paper18.5 x 28.7 cm. 7 5/16 x 11 5/16 in.Footnotes:Cette œuvre est le dessin préparatoire pour la sculpture La coco de mer des Seychelles illustré en couleurs en page 114 de l'ouvrage Helen's Boomerang publié par les éditions Claude Givandan, Paris. Nous remercions l'Estate d'Alain Jacquet pour les informations qu'ils nous ont communiquées sur cette œuvre, un certificat d'authenticité pourra être obtenu à la charge de l'acquéreur et sur demande auprès de la Estate d'Alain Jacquet. Provenance Collection Claude Givaudan, Paris (acquis directement auprès de l'artiste)Collection particulière, ParisThis 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

JOSEPH SIMA (1891-1971)Sans titre 1960 signé et daté 60aquarelle, pastel, encre et mine de plomb sur papier signed and dated 60watercolour, pastel, ink and graphite on paper 35 x 24.6 cm. 13 3/4 x 9 11/16 in.Footnotes:Provenance Galerie Paul Facchetti, ParisAcquis auprès de celle-ci par le propriétaire actuelThis 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

KAREL APPEL (1921-2006)Sans titre 1955 signé, daté 9-8-1955 et inscrit Cher Ami, je serai très heureux d'avoir le text. Amitiés pastel gras sur papier signed, dated 9-8-1955 and inscribed Cher Ami, je serai très heureux d'avoir le text. Amitiés oilstick on paper123 x 66 cm. 48 7/16 x 26 in.Footnotes:ProvenanceCollection Luigi Walter Moretti, Rome (don de l'artiste en 1955) Puis par descendance au propriétaire actuelThis lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

JOSEPH SIMA (1891-1971)Sans titre 1958 signé aquarelle, gouache et pastel sur papier signedwatercolour, gouache and pastel on paper26.5 x 37.4 cm. 10 7/16 x 14 3/4 in.Réalisé en 1958.Footnotes:Provenance Galerie Paul Facchetti, Paris Acquis auprès de celle-ci par le propriétaire actuelThis 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

JOSEPH SIMA (1891-1971)Sans titre 1960 signé et daté 60aquarelle, gouache, pastel, encre et mine de plomb sur papier signed and dated 60watercolour, gouache, pastel, ink and graphite on paper37.1 x 26.5 cm. 14 5/8 x 10 7/16 in.Footnotes:ProvenanceGalerie Paul Facchetti, Paris Acquis auprès de celle-ci par le propriétaire actuelThis 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

KOKUTA SUDA (1906-1990)Sans titre 1958 signé ; signé et daté 1958.9.3 au revers pastel et fusain sur papier embossé marouflé sur papiersigned ; signed and dated 1958.9.3 on the reversepastel and charcoal on embossed paper laid on paper37.2 x 27.9 cm. 14 5/8 x 11 in.Footnotes:ProvenanceCollection de l'artiste, JaponCollection particulière, JaponGregg Baker Asian Art, LondonAcquis auprès de celle-ci par le propriétaire actuelThis lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Tim Steward (British 1975-) Horse racing study Signed, 2008, with certificate of authenticity, pastel and pigment on paper.58 x 43cm (framed 73.5 x 58.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.

ANDRÉ MASSON (1896-1987)Sans titre (Trois nus assis) signé 'André Masson' (en bas gauche)mine de plomb et pastel sur papier Exécuté en 1922signed 'André Masson' (lower left)graphite and pastel on paper Executed in 192244 x 32.5 cm. 17 5/16 x 12 13/16 in.Footnotes:L'authenticité de cette œuvre a été confirmée par le Comité André Masson.ProvenanceCollection Armand Salacrou, Paris.La vente de sa succession, Binoche et Godeau, Paris, 6 décembre 1992, lot 23.Collection particulière, France.Vente, Artcurial, Paris, 8 juin 2006, lot n° 221.Collection particulière, France.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

◆ GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) APRES LE BAIN (THE BATHERS, JUAN-LES-PINS) Signed, oil on canvas Dimensions:44cm x 54.5cm (17.5in x 21.5in) Provenance:Provenance: Alex. Reid & Lefevre, GlasgowPearson & Westergaard Ltd, GlasgowIon R. Harrison Esq., Glasgow and by descent to the present ownerExhibited: Alex. Reid & Lefevre, Three Scottish Painters: S. J. Peploe, Leslie Hunter, F. C. B. Cadell, London, January 1939, no.2Glasgow Art Gallery, Leslie Hunter, May 1942, no.72National Gallery of Scotland, Edinburgh, Leslie Hunter 1877-1931, June 1942, no.112McLellan Galleries, Glasgow, Pictures from a Private Collection, 2- 27 March 1951, no.71Glasgow Art Gallery and Museum, Glasgow, Scottish Painting, 5 October - 30 November 1961, no.167Scottish Arts Council Gallery, Glasgow, Three Scottish Colourists: Cadell, Hunter, Peploe, 9 May - 6 June 1970 and tour, no.49Literature: T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London,1937, p.148, pl.36 (as 'Juan-les-Pins')Derek Ogston, Leslie Hunter: Paintings and Drawings of France and Italy, Baillieknowe Publishing, Kelso, 2004, listed p.88 (as 'The Bathers, Juan-les-Pins (Après le Bain)')Bill Smith and Jill Marriner, Leslie Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2012, p.150, fig.132 (as 'Après le Bain (The Bathers, Juan-les-Pins)' and dated 1928) Note: Note: Dated to 1928 by Bill Smith and Jill Marriner (op.cit.) Between 1927 and 1929 Hunter spent extensive periods in the south of France, principally from a base in St-Paul-de-Vence. He worked in various locations, including Antibes, Cassis, Nice, Saint Tropez and Juan-les-Pins, as featured in Après le Bain (The Bathers, Juan-les-Pins). Hunter enjoyed the region immensely, writing ‘This is an ideal country to loaf in and I wish I could simply loaf around and enjoy the sunshine and the cooking as most of the people around here do.’ (T. J. Honeyman papers, National Library of Scotland, Edinburgh ACC97872/25/6/3, quoted by Derek Ogston, op.cit., p. 42)Whilst there, Hunter created many works on paper, using pen and ink, coloured chalk and pastel; the present painting is a rare example of a fully-realised south of France oil. In a letter of September 1927 to his dealer, Alexander Reid, Hunter wrote from St-Paul: ‘Of course, my paintings are the main thing. I may stay down here another month or two and thereby take your advice to finish everything before returning…I know the coast now between Monte Carlo and Cassis and have made about a hundred drawings in colour…Have worn a straw hat every day since I landed here.’ (quoted in T. J. Honeyman, op.cit., pp.121-22)In Après le Bain (The Bathers, Juan-les-Pins), Hunter celebrated the bright Mediterranean sunshine which creates a contrast between dazzling warmth and deep shadow, the verdant trees and shrubbery by which sun-baked architecture is accompanied and the leisurely lifestyle in which seabathers stroll together through parks.The painting was acquired by the Glasgow ship-owner Ion Harrison, who became one of Hunter’s most important patrons and who amassed one of the most significant collections of his work and that of his fellow Scottish Colourists, Cadell and Peploe. In 1950 Harrison recalled: ‘Leslie Hunter was the first of the three whom I got to know personally. He was already a friend of my two partners, the late Mr William McInnes and Mr William McNair and I must have met Hunter through them when I returned to business after the 1914-18 War, in the Autumn of 1919. He was a frequent visitor to the office when he was in Glasgow.’ (Ion Harrison, ‘As I Remember Them’ in T. J. Honeyman, Three Scottish Colourists, Faber and Faber Ltd, London, 1950, p.121).Harrison continued: ‘Hunter always maintained that he was not painting for today but for fifty years hence and that although his pictures might look garish today in fifty years they would have mellowed and become beautiful in tone. Having lived twenty-five years with several of them I find that Hunter’s prophecy is coming true.’ (op.cit., p.126)

GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) LE PORT DE L'OLIVETTE, CAP D'ANTIBES Signed, pen and ink and pastelDimensions:32cm x 39cm (12.5in x 15.5in)

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUMMER, CAP D'ANTIBES Inscribed verso, pencil, pastel and watercolour Dimensions:17cm x 21cm (.75in x 8.25in) Provenance:Provenance: Bourne Fine Art, Edinburgh and London

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) LANDSCAPE WITH TREES Signed, pastel Dimensions:20cm x 25cm (8in x 9.75in) Provenance:Provenance:The Artist’s EstateAcquired from the above by Cyril Gerber Fine Art, Glasgow from where acquired by the present owner in 2003 Note: This work is one of a series of studies relating the paintings The Little Larchwood (I) and (II), both of c.1955 (see Chrisopher Andreae, Joan Eardley, Lund Humphries, Farnham, 2013, p.145). It is likely to have been executed in situ whilst Eardley was visiting her friend, the photographer Audrye Walker, as Christopher Andreae has explained: ‘The ‘little larchwood’ paintings were done during one of Joan’s visits to Caverslee, the shepherd’s cottage in the Borders used as a country retreat by the Walker family.’ (op.cit.)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) OLIVE GROVE AND PLOUGH Pastel on brown paper Dimensions:53cm x 65cm (20.75in x 25.5in) Provenance:Provenance: Dorothy Steel, a ballet dancer and friend of the artist, from whom acquired by the present owner

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE SWAN WALK Signed with initials, chalk and pastel Dimensions:26cm x 20cm (10.25in x 8in) Provenance:Exhibited: The Fine Art Society Plc, Edinburgh, Edinburgh Festival Exhibition: James Watterston Herald, August 1988 (16673)

Charles Mozley framed and glazed watercolour and pastel titled The Church of Étretat Normandy circa 1960, details to verso, 52 x 73cm

Allan Cownie (Welsh 1927-2015) "Nude Reclining" Signed, titled on label verso, pastel on rag board.28.5 x 41cm (framed 44.5 x 57.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Martin Dobson (British 1947-) "Signal Gantry" Signed, titled on artist's label verso, pastel.20 x 23cm (framed 38.5 x 40cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed.

Joe Wilde (British 20th/21st century) "Jersey Street, Ancoats" Signed and dated '94, titled on the mount, pastel. 27.5 x 35cm (framed 42.5 x 52.5cm) Artists’ Resale Right (“droit de suite”) may apply to this lot. The drawing is in very good, original condition with no obvious faults to report. The drawing is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Steven Bewsher (British 1964-) "Frosty Evening, Stormy Point, Alderley Edge, Cheshire" Signed, titled on artist's label verso, pastel.38 x 69.5cm (framed 61 x 93.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Bernard McMullen (British 1952-2015) "Flat Iron Market" Signed, titled on verso, pastel.48 x 63.5cm (framed 69 x 84.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-2023) "Venice" Signed, titled and dated 1964, pastel. 72.5 x 53.5cm (framed 87 x 68cm) Acquired directly from the artist.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. The frame has some knocks and losses.

Tom Brown (British 1933-2017) "Salford Street Scene" Signed, pastel.29.5 x 24cm (framed 45.5 x 39.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There are some minor spots of foxing across the paper. The drawing is ornately framed and glazed. The original metal frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-2023) Study of Neil Signed, titled and dated '76, pastel.54.5 x 37.5cm (framed 76 x 59cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There are some spots of browning across the sheet. The drawing is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.