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GODDARD PAULETTE: (1910-1990) American Actress. Well remembered for her leading lady roles in Chaplin´s films Modern Times and The Great Dictator. Signed and inscribed 8 x 10 photograph , the image showing Goddard standing in a three quarter length pose, in a scene of Renoir´s film The Diary of a Chambermaid (1946). Signed in bold black ink to a clear area of the image. The autograph was obtained in person by well-known French Collector Pierre Goulliard. VG £80-100

* SOUTINE, CHAÏM(1893-1943)*La liseuse endormie, Madeleine Castaing.Oil on canvas, 57 by 41.5 cm.Executed c. 1937. Provenance: Acquired directly from the artist by Marcellin and Madeleine Castaing. Collection of Madeleine Castaing. Impressionist and Modern Art Day, Sotheby’s London, 20 June 2006, lot 340. Important private collection, Europe. Exhibited: L’Or des années folles, 1918–1930, Grand Palais, Paris, 8 February–5 March 1979. Chaim Soutine, 1893–1943, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Münster; Kunsthalle, Tübingen; Hayward Gallery, London; Kunstmuseum, Lucerne, 1981–1982. Soutine, 1893–1943, Galleri Bellman, New York, 6 December 1983–28 January 1984. C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Centre Culturel et Artistique, Montrouge, 1986. Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Galleria Bergamini, Milan, March–April 1987. Soutine, Musée de Chartres, Chartres, 29 June–30 October 1989, No. 69. Chaim Soutine, Galerie Thomas, Munich, 1 April–30 May 2009. Literature: M. Ochse, “Retour de Soutine”, Jardin des Arts, Paris, No. 218, May–June 1973, p. 9, illustrated. Exhibition catalogue, J. Monneret (ed.), L’Or des années folles, 1918–1930, Paris, Société des artistes indépendants, 1979, p. 28, No. 19, illustrated. Exhibition catalogue, Chaim Soutine, 1893–1943, London, Arts Council of Great Britain, 1982, No. 90, illustrated with incorrect orientation. Exhibition catalogue, Soutine, 1893–1943, New York, Galleri Bellman, 1983, No. 19, illustrated with incorrect orientation and size. Exhibition catalogue, C. Soutine, XXXIe Salon de Montrouge. Art contemporain, peinture, sculpture, dessin, Montrouge, Centre Culturel et Artistique, 1986, No. 27. Exhibition catalogue, F. Porzio, Chaim Soutine, 1893–1943. I dipinti della collezione Castaing, Milan, Galleria Bergamini, 1987, No. 15, illustrated and listed. Exhibition catalogue, Soutine, Chartres, 1989, p. 303, illustrated; p. 302, No. 69, listed with the date 1940. M. Tuchman, E. Dunow, K. Perls (eds), Chaim Soutine. Catalogue Raisonné, Cologne, Benedikt Taschen, 1993, p. 760, listed; p. 763, illustrated. Chaim Soutine. The Passion of Painting, Munich, Galerie Thomas, 2009, p. 134, illustrated and listed. M. German, Khaim Sutin. 1893–1943, Moscow, Iskusstvo–XXI vek, 2009, p. 309, illustrated and mentioned in the text; p. 357, listed. K. Carl, Chaim Soutine, London, Parkstone International, 2015, illustrated. Chaïm Soutine’s La liseuse endormie, Madeleine Castaing, now offered for auction, the portrait of a close friend, the collector and the artist’s patron, Madame Madeleine Castaing (1894–1992), is one of the artist’s most expressive portraits. It was painted in the second half of the 1930s, when the relationship between Soutine and his model — who was to become a wellknown bohemian antique dealer, interior designer and was, according to Picasso, “the most alluring” woman in Paris — was already so friendly and enduring that it did not presuppose the traditional official distance between the artist and his patron. They first met in the 1920s, when a wealthy couple Madeleine and Marcellin Castaing — lovers of painting and passionate collectors, who had already a collection, which included works by Modigliani, Rouault, Picasso, Gris and Léger — saw some of Soutine’s works and began to track them down. The Castaings’ support, which remained with Soutine until his dying day, gradually brought them closer together, and after the death of Léopold Zborowski, the artist’s long-time dealer, Madeleine Castaing personally looked after Soutine’s affairs. From 1930 to 1935, the artist spent his summers at the Castaings’ home on their Lèves estate near Chartres. It was here that he painted his masterpieces Woman Entering the Water (1931; after Rembrandt’s Woman Bathing), Siesta (1934), Child in Blue and Chartres Cathedral (1934). Madeleine Castaing posed repeatedly for Soutine both in his workshop near the Parc Montsouris and on her estate. Soutine trusted her implicitly, and she alone was allowed to observe his work in progress. As she once put it, “I am the only person he could bear when he was painting and even when he was pondering the idea for a picture. I was the only person whom he asked for advice about a model or subject.” It comes as no surprise that it is one of the portraits of Madeleine Castaing, dating from 1928 (The Metropolitan Museum of Art), that marked the pinnacle of the artist’s portrait painting. She was later to recall: “I would often sit for him. I could not let slip a single unnecessary word or say anything that disturbed his thinking. A simple phrase might infuriate him. I remember his reaction when, without having the slightest wish to belittle his talent, my husband was trying to find some spiritual connection between one of his latest works and Renoir. Was Soutine aggrieved, or did he sense some affinity himself? But in his anger, he tore up his work anyway.” The main feature of the artist’s interpretation of the image of Madeleine Castaing in this portrait is her almost grotesque appearance. Having dozed off while reading a book, she has let her head fall onto the cushioned edge of the couch, possibly in the blue sitting room at her Lèves estate, which was commandeered by the Nazis in 1940, and has pressed the book to her face on an unconscious impulse. We can see neither the female figure nor the couch as a whole, but only this strange viewing angle in a very narrow vertical section. The upward motion of the disproportionate arms and the pointed nose make the face of the sleeping woman resemble a frightened bird. A large nose, eyebrows raised in surprise, wide, red, half-parted lips and huge eyes covered by bulging eyelids stand out on her thin, highly expressive and temperamental face, seen in profile with taut, smooth cheekbones. Hidden drama and nervous tension are also encapsulated in the canvas’s colour scheme: they cry out from the striking juxtaposition of the intense dark-blue, white, pink and yellow colours. The fair, straw-coloured turmoil of Madeleine’s hair, tossed back beyond the couch, is echoed by the yellowness of her left arm with its dark-blue ropelike veins. The deliberately distorted proportions of the vaguely delineated real-life features, the bright blotches on the face, the grimace of a troubled sleep and the actual angular nature of the composition give rise to a feeling of overabundant expressiveness. One can sense a poignancy and insecurity in the model. The spontaneity of execution, the outward passionate improvisation and the chromatic colouristic movement of the background, all augmented by the vividly expressed individuality of the lady’s appearance, make the portrait so memorable and significant. La liseuse endormie, Madeleine Castaing provides a clear illustration of why the art-loving Madeleine Castaing, who had an extravagant taste, her own inimitable style and artistic flair, particularly cherished the portraits of her that were painted by Soutine. It is precisely when looking at this canvas that one can appreciate the accuracy of Élie Faure’s judgment of the artist, when he spoke of his “supernatural expressiveness of visible life”.

A collection of prints to include John Everett Millais, Edgar Degas, August Renoir etc and resin figure group of a young man and woman, height 44cm (25).

Pierre-Auguste Renoir (1841-1917), "Étude pour une baigneuse".Pointe sèche, Deuxième état.16.5x22 cm.Cette gravure a été publiée dans l'édition de luxe d'Ambroise Vollard "Tableaux , pastels et dessins de Pierre-Auguste Renoir" chez A.Vollard Paris 1918, au numéro 25 de ce catalogue. Le catalogue a été détruit mais les gravures ont survécu. Référence: Stella 16 ; Johnson 196. Condition: Légère oxydation du feuillet, deux points d'oxydationGravures - EstampesPrints and EngravingsGrafikTableaux - EncadrésPaintingsGemälde

Pierre-Auguste Renoir (1841-1917), "Le Chapeau épinglé".Pointe sèche, 2e planche, second état.9.2x13.2 cm. Référence: Stella 7 Condition: Oxydation du feuillet et petits points de rouilleGravures - EstampesPrints and EngravingsGrafikTableaux - EncadrésPaintingsGemälde

2 'Renoir' prints 'On the terrace' Image 55cm x 89cm & 'Idyle' Image 44cm x 60cm

AFTER PIERRE-AUGUSTE RENOIR. 'Two Young Girls at a Piano.' A large coloured print, in attractive gilt frame. 29.5" (75cm) high x 24.5" (63cm) wide. (1)

A box of 1960s and later costume jewellery including Christian Dior, Trifari and Renoir etc.

A Renoir print and an advertising print

Studio of Miguel Canals (1925-95) - Portrait of a lady after Renoir, 29 x 26 cm and Lady and Gentleman at bar after Toulouse-Lautrec, 26 x 20 cm, both stencilled Studio M Canals to reverse (2)

Re-Offer £30-£40 vendor agreed 13/4/18 Pair of framed embellished giclee prints, one after Monet ('Japanese Bridge'), and one after Renoir ('Oarsmen at Chatou'). (2)

A print entitled 'On The Terrace' by Pierre Augustus Renoir.

Albert Lebourg (French 1849-1928)Route de village, Hondouville-sur-Iton.  Oil on canvas.  Signed lower right37.5 x 64 cm.(14 3/4 x 25 1/4 in.) The authenticity of this work has been confirmed by Monsieur Francois Lespinasse.The French Impressionist and landscape painter Albert Lebourg was born on 1 February 1849, in Monfort-sur-Risle. Lebourg originally started his career as an architect, before becoming a student at the École des Beaux Arts et l¬ademie de Peinture et de Dessins in Rouen. After meeting the famous collector Lapelier in 1872, he taught drawing at the École Supérieure des Beaux-Arts in Algiers where he met Jean Seignemartin, a painter of the Lyon School. Under Seignemartin's influence, Lebourg's palette lightened and his paintings grew increasingly Impressionistic in style.In 1878, Lebourg returned to France and became a student at the studio of Jean Paul Laurens. He first exhibited with Monet, Sisley, Renoir, and Pissarro on Montmartre Boulevard in 1878. In 1893 Lebourg became a member of the Société des Artistes Français and painted mainly in Rouen and Auvergne, as well as along the banks of the Seine. He spent twelve years between 1895 and 1907 travelling aroun Europr including the Netherlands, England, Switzerland and Belgium.Lebourg's main 'Impressionistic subjects' were landscapes; he became fascinated by the different lighting conditions over the course of a day capturing the momentary and transient effect of sunlight in the open air (en plein air) rather than in a studio from sketches. This approach was influenced by Claude Monet and the circle of other Paris-based artists of the 1860s.Lebourgh had a retrospective of his work at the Galerie Georges Petit, Paris in 1918. Three years later in 1921, after a stroke which partially paralysed him, he ceased his career and moved back to Rouen where he died seven years later.The present work is a typical example of Lebourg’s interplay between colour and light - it was painted in Hondouville-sur Iton, a small village between Louviers and Evreux (Eure) circa fifty kilometres from Rouen.

10 Quad Movie Posters, A Little Princess, A Love in Germany, A Man Like Eva, A Midsummer's Night's Dream, A Rage in Harlem, A Self-Made Hero, A Soldiers Daughter Never Cries, A Summers Tale, A Time to Kill A Tribute to Jean Renoir. Very Good to excellent condition, some with minor edge and fold wear and some with corner pinholes, all posters are the exact poster photographed (no stock images) so please view the images for the individual condition of each. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

A vintage suitcase containing a collection of silk scarves to include Gino Renoir, Dior, Versace, Bursah Ipeh, Jane Shilton, Cynthia Rowley, Laura Ashley, and throws etc., (a large lot)

Roderic O'Conor 1860-1940NUDE SEATED ON A CHAISE LONGUEOil on board, 24" x 19 3/4" (61 x 50 cm), Atelier 'O'CONOR' stamp verso.Provenance: Private Collection, LondonRoderic O'Conor fascination with the female nude began in earnest after he left Brittany for good in 1904 and moved to Paris. The spacious studio he rented at 102 rue du Cherche-midi in Montparnassse became the setting for countless explorations of this time-honoured subject. The present example, with sumptuous,reds, pink, oranges and yellows recreates something of the effect of a boudoir, the model being captured as if she is just about to rise from nher couch in order to get dressed. The sense of immediacy is reinforced by the cropping of the figure's feet and hair from the top and bottom edges of this picture, with the result that her position in space is very close to the plane of the picture. The intimate setting and unselfconscious pose of this nude relate it closely to other interiors dating from O'Conors intimiste period, 1905-11. Inspiration for this body of work was provided by the late nudes of Renoir (compare for example the latter's Bather Sitting on a Rock (Baigneuse) of 1892; private collection, Paris), as well as Pierre Bonnards radiant and seemingly unposed depictions of his wife. O'Cono sought, like Bonnard, to create unpretentious pictures of women in intimate settings, engaged in everyday activities such as reading, resting, arranging their hair or fastening a stocking. An early example of 1905 entitled Repos, showing a clothed model asleep, was bought from O'Conor by the famous Russsian collector of modern European art, Ivan Morosov, and is now in the State Hermitage Museum, St. Petersburg.The features of the young woman seen here can be found in a number of O'Conor's paintings from this period. He would normally start work by making rapid drawings of the model in a range of different poses - an approach that allowed him to establish an understanding of her movements and proportions. I Nude seated on a chaise longue the model has been placed left of centre, seated on the edge od a divan (a favourite studio prop), with three Chinese vases located in the background to lend an air of cultured refinement. The model's expression, as so often in O'Conor's work, is contemplative and introspective, rather than overtly glamorous or sensual. The figure is lit by daylight entering the picture from the right, throwing the left side of her figure in shadow and thereby enhancing the illusion of rouned, three dimensional forms. By paving careful attention to the overall balance of the light and shade, O'Conor demonstrates his awareness of traditinal themes and approaches, simultaneously in this painting was one of his favourite colours, inevitably calling Renoir to mind once again.whereas the seated nude on the front of this picture is a highley considered statement that must have demanded frequent sittings of the model over a prolonged period, reclining nude on the reverse is a spontaneous and vibrant sketch, painted in one sitting. The two contrasting treatments show how the extent to which O'Conor was prepare to adapt his approach, working rapidly alla prima in order to d=seize a pose or light effect before it was lost foe ever, while at the the same time producing pictures with a much higher degree of 'finish', perhaps with a exhibition in mind. Even in more developed works, however, the artist still liked to retain a degree of spontaneity: compare foe example the bold patch of creamy paint on the seated nude's left shoulder, with the incredibly delicate, feathered brushstrokes used in her right cheek and neck.We are greatful to Jonathan Benington for kindly preparing this catalogue entry.

Original vintage advertising poster for the Universal Exhibition in Brussels - Exposition Universelle Bruxelles Mai-Novembre 1910. Exposition Universelle et Internationale was a world's fair held in Brussels in 1910 from 23 April to 1 November. This was just thirteen years after the previous Brussels world's fair. It received 13 million visitors, covered 220 acres and lost 100,000 Belgian Francs. A major site for the exhibition was the Mont des Arts, although the site was largely demolished during the post-war construction process of Brusselization. The fine art section included modern art loaned by the French including 3 works each by Monet, Rodin and Renoir and 2 works by Matisse. Painters who participated included the Belgian Alo‹s Boudry who won a silver medal, and the French Adrien Karbowsky. The altarpiece of the St. Jan Berchmans Church, Brussels was presented. The Belgian engineer Jean-Baptiste Flamme (fr) exhibited his new Type 10 pacific locomotive. There was a big fire on 14 and 15 August which gutted several pavilions. Stone lithograph poster printed by De Rycker & Mendel, Bruxelles and designed by Charles Michel. Good condition, repaired tears, holes on margins, printed on three panels, main poster 160 x 120cm, two side panels 160 x 60cm. Belgium, 1910.

CONSTANCE BIRNIE LAWSON (Fl.1882-1903) FLOWER SUBJECTS Three, each signed, one also dated 1882, watercolour, unframed 35 x 28cm or 33 x 26cm.; with two watercolours by other hands; and a colour etching by Charles Giroux after Renoir, all unframed (6) * Lawson's sister, Beatrix, was married to J. A. M. Whistler. ++ Each in generally good condition

A quantity of cinema live posters including BFI Testament of Youth, Royal Opera House Cosi Fan Tutte, Sleeping Beauty, Rhapsody, The Two Pigeons, Giselle, Romeo and Juliet, Royal Shakespeare Company Loves Labours Lost, Sydney Opera House Don Giovani, Michael Buble Tour Stop 148, Art Exhibitions for Monet and Renoir, Royal Opera House Boris Godunon, Globe Shakespeare Richard II, Titus Andronicus

Modern oil on canvas in a gilt frame of a woman and child in the style of Renoir 65 cm x 76 cm

After Renoir, two gilt framed coloured prints

Royal Doulton; four limited edition figures from a collection inspired by the paintings of Renoir, HN3474 'Lise' no.45/7500, HN3473 'Les Parapluies' no.437/7500, HN3475 'Marie Sisley' no.253/7500 and HN3472 'La Loge' no.188/7500 (4). CONDITION REPORT Lise has a small chip from the edge of her parasol and has been re-glued to her hand

A WOODLAND SCENE signed l.l.: n. diaz oil on panel 29 x 23.5cm Narcisse Diaz de la Pe¤a began as a porcelain painter in Paris, however within a few years he left this area and taught himself to paint on canvas. He copied the great paintings of the Louvre, and also drew on Victor Hugo and Delacroix as his inspirations. He was drawn eventually to landscape art and came to part of the group known as the Barbizon School. He encountered Theodore Rousseau in the forest at Fontainebleu and, holding the younger man in high esteem, admitted his respect for the artist and came to be taught by him. He exhibited many times at the Paris Salon, is exhibited today in many museums including the Louvre and the Wallace Collection, and was praised by Millet and Renoir. He was awarded the rank of Chevalier of the Legion d'honneur in 1851.

A FOLIO OF DRAWINGS AND LITHOGRAPHS: INCLUDING FIGURE STUDIES AND ARCHITECTURAL STUDIES various media various sizes unframed Albert de Belleroche was Welsh-born, though he spent most of his childhood in Paris and England. He studied at Carolus-Duran's school in Paris at the same time as John Singer Sargent, and the two made numerous sketches of each other. It has been suggested that the two shared an intimate relationship, although de Belleroche went on to marry the sculptor Jules Edouard Visseaux's daughter. de Belleroche, like Sargent was friends of Oscar Wilde, Emile Zola, Renoir and Henri Toulouse-Latrec; de Belleroche painted the latter's portrait. -8

After Pierre Auguste Renoir, Etching, Le Chapeau Epingle, 12cm x 8cm, Mounted but unframed

Three Express Art books, the French Impressionists, Van Gogh, and Renoir, each containing colour plates (a/f)

Pierre Auguste Renoir, French (1841 - 1919) Etching "Le Fleuve Scamandre". Signed in plate. Toning, foxing. Measures 8-3/4" x 7", frame measures 21-1/4" x 18-1/4". Shipping $115.00 (estimate $200-$400)

NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Les Baigneuses, oil on panel16.3 x 23.5 cm (6 3/8 x 9 1/4 in.)signed with monogram lower rightLOT NOTESArtist dedicated this work to his son Ziem. Inscribed in ink on verso A Ziem et sa fee de ses couleurs [To Ziem and his color muse]. Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.

NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Bouquet de Fleurs, 1857oil on canvas43.4 x 34.5 cm (17 1/8 x 13 5/8 in.)signed lower left; signed and dated on verso Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.

NARCISSE VIRGILE DIAZ DE LA PENA (FRENCH 1807-1876)Repas Champetre en Foret de Fontainebleau, 1863oil on canvas19.8 x 30.2 cm (7 7/8 x 11 7/8 in.)signed lower right; signed, titled and dated upper stretcher on verso LOT NOTESThis work is dedicated to Claude Monet. Inscribed on verso a l`artiste Claude Monet. N. Diaz Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Pena found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter.In 1836, Diaz met Theodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz remained popular throughout his career Ð he had active followers and was creating works for private patrons. He reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frederic Bazille, who admired his brilliant colors; his late landscapes very likely influenced the impressionists.

CLEMENTINE HELENE DUFAU (FRENCH 1869-1937)Hommage a Renoir, oil on canvas64.1 x 68 cm (25 1/4 x 26 3/4 in.)signed lower left Clementine Helene Dufau studied at the Academie Julian under William Bouguereau, Tony Robert-Fleury and Gabriel Ferrier, some of the most important artists of the academic style. Academie Julian was one of the first academies to accept female students and also allow women to study nude, one of DufauÕs favorite subjects. The artist is best known for her posters during the Belle Epoque period with the most famous poster La Fronde, 1898, showing the rise of the feminist movement in France.

Three boxed limited edition artist inspired Barbies, comprising Renoir, Monet and Van Gogh

After Pierre Auguste Renoir, Woman with dogs, sanguine lithograph, with blindstamp, 30cm x 23cm.

 RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine A.L.S., Auguste, two pages, 8vo, n.p., n.d. ('Lundi soir'), to 'Ma chere petite amie', in French. The artist announces 'I am very unhappy because I cannot leave my two most important landscape studies high and dry' and continues to explain '…I'm waiting for two or three days of sunshine. If I could hang them, I'd be right back', requesting that his friend wait a little longer and advising that as soon as the weather improves, which he anticipates won't take longer than a week, he will let them know which boat he is taking. Renoir adds, 'It's very difficult for me to inform you because it can be beautiful tomorrow. It's even probable. I would like it to rain because five minutes after the weather would be fine but only a few droplets are looming and that's it. The changes are swift, so I can't tell you anything' and concludes his letter 'I intend to take the boat to Port-Vendres on Sunday. There are no others. The crossing takes less time, but the railway never ends because its not like from Marseille; there is no express line. On Thursday I will write to you and hope to give you more specific information'. A good letter for its references to Renoir's paintings and further illustrating the difficulties painters face with the elements. A few very small, extremely minor chips to the lower edges, causing a little paper loss, although not affecting the text or signature, otherwise VG 

After Pierre-Auguste Renoir, 1906, La Femme Nue Couche, soft ground etching, Harrods label to verso, 15cm x 21cm

Books - Art History - Five Hundred Self-Portraits: From Antique Times to the Present Day in Sculpture, Painting, Drawing and Engraving, Chosen, Edited and Introduced by Ludwig Goldscheider, Translated by J. Byam Shaw, Phaidon Press, London 1937, h/b, d/j, 4to; Browse (Lillian), Willian Nicholson, Rupert Hart-Davis, London 1956, h/b, d/j, 8vo; Levey (Michael), Painting At Court, Weidenfeld & Nicholson, London 1971, h/b, d/j, 4to; Sangl (Sigrid), Biedermeier to Bauhaus, 2000, h/b, d/j; Oil Paintings in Public Ownership in Nottingham, 2008; Summer (Ann), The Collector's Eye from Romney to Renoir, The Holburne Museum, Bath, 15 May - 5 July 1998; early 20th century illustrated catalogues of the collections of Prague Castle; Kippis (A.), A Narrative of the Voyages Round the World, Performed by Captain James Cook, With An Account of His Life, During the Previous and Intervening Periods, With Twelve Illustrations Reproduced In Exact Facsimile, From Drawings Made During the Voyages, Bickers and Son, London 1878, contemporary gilt-embossed blue leather, marbled endpapers, 8vo; other history (qty)

OIL PAINTING AFTER RENOIR INTERIOR BAR SCENE signed R Gibson (97cm x 127cm)

A Goebel limited edition charger, Renoir 1841-1919, 31.5cm

Giuseppe Fryda (20th C) Oil on canvas "Clown". Signed lower right, Gallerie de L'Av A. Renoir stamp en verso. Good condition. Measures 9-1/2" x 6-1/2", frame measures 16-1/4" x 13". Shipping $65.00 (estimate $200-$300)

After Renoir, etching, The Straw Hat, signed in the plate, 11.5 x 8cm

Renoir Matisse enamelled costume jewellery to include enamelled cuff bracelet and clip on earring set and bracelet, brooch and earring set

Pair of framed embellished giclee prints, one after Monet ('Japanese Bridge'), and one after Renoir ('Oarsmen at Chatou'). (2)

A PAIR OF DECORATIVE PRINTS AFTER RENOIR

A Pair Of Decorative Vintage Painted Plaques Each mounted on solid wood frame with silver tone raised mount, the first after Degas L' Absinthe. The second after Renoir. Each 10 x 8 inches

1950's/60's jewellery, hammered copper Moda, a bracelet marked Renoir, etc.

A framed print on board portrait of a young girlPrint on boardMarked ‘Little Irene Renoir CP1369’ on rear

After Renoir, The Ball at the Moulin de Galette, print.

A Pair Of Decorative Vintage Painted Plaques Each mounted on solid wood frame with silver tone raised mount, the first after Degas L' Absinthe. The second after Renoir. Each 10 x 8 inches

After Pierre-Auguste Renoir, 1906, La Femme Nue Couche, soft ground etching, Harrods label to verso, 15cm x 21cm

A French costume jewellery necklace, of brass design with black rubbed centre, marked to back Renoir

Two watercolour studies by Lynda McGeouch; together with a quantity of pictures and prints after Picasso, Francis Bacon, Renoir, etc.

JONATHAN HARRIS. A tall pink 'Renoir' crystal cased footed vase. Signed to base with engraving 'Ironbridge England, 2008'. Height 20cm.

JONATHAN HARRIS. Two glass paperweights, 'Renoir' and 'Wilderness', together with a 'Wilderness' perfume bottle. All signed to base.

A signed limited edition L E Lowry print, of an industrial town, with Renoir Gallery invoice and label to the reverse, 18ins x 24ins (D) Condition report: Print may have a green tinted hue, but this maybe because it is in a dreadful mount and frame. The white margin around the print appears stained

Art Books to include Pissarro, Renoir, Van Gogh, Impressionism & Design, Art Deco and William Morris

Anthony Van Dyck catalogue, Leonardo Da Vinci, Renoir, Faberge and other similar books in one box Condition Report Click here for further images, condition, auction times & delivery costs

P Renoir; a 9ct gold ladies' cocktail watch, black dial set with baton numerals, on a 9ct gold chain link bracelet, approx 8.3g.

A Pair Of Decorative Vintage Painted Plaques Each mounted on solid wood frame with silver tone raised mount, the first after Degas L' Absinthe. The second after Renoir. Each 10 x 8 inches

Private Collections. [Collection Marczell de Nemes de Budapest], plates, original wrappers, 4to, Paris: Galeri Manzi, 1913; Sammlung Schloss Rohoncz, 2 volumes, cloth, slipcase, 4to, Lugano, 1937; Drawings from the Collection of Mr and Mrs Eugene V. Thaw, 2 volumes, original wrappers, 4to, New York: Pierpont Morgan, 1975; Raphael to Renoir: Drawings from the Collection of Jean Bonna, original cloth, dust-jacket, 4to, New York: Yale University Press, 2009; and 16 others, similar, v.s. (22)

Renoir, Auguste. Daulte, Francois. Auguste Renoir, Catalogue Raisonne... Figures (1860-1890), number 724 of 1850 copies, plates, original cloth, dust-jacket, 4to, Lausanne: Editions Durand-Ruel, 1971; Bailey, Colin B. Renoir, Impressionism and Full-Length Painting, plates, original cloth, 4to, New York: Frick Collection, 2012; and 19 others on the same artist, v.s. (21)