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Vibrant and artsy the brooch is entirely copper with three long paintbrushes running through it. The clip back earrings are a mini version of the brooch with two copper paint brushes running through. Both of the earrings have enamel atop the copper. One pair of earrings has blue and copper enamel with yellow, red and white paint dabs. The other pair has red and copper enamel with green, white and black paint dabs. Brooch backstamp Renoir. Earrings backstamp Matisse. Brooch: 1.75"L x 4.5"W. Earrings: 1.75"L x 0.75"W. Issued: 20th centuryManufacturer: Renoir MatisseCondition: Age related wear.

Fun and free flying this brooch is a striking turquoise color blue enamel with lots of movement. The backing and kite tail are copper. The kite tail looks as if it is blowing in the wind. Backstamp Matisse Renoir, 3.5"L x 2"W. Issued: 20th centuryManufacturer: Matisse RenoirCountry of Origin: United StatesCondition: Age related wear.

Large and fabulous the leaves of the flower have etched detail. Playful scrolling vines add interest to this beautiful sterling silver brooch. Backstamp Sterling Sauteur Renoir. Weight: 34g. Artist: Sauteur RenoirIssued: 20th centuryEdition Number: 3"L x 3.5"W Country of Origin: United StatesCondition: Age related wear.

This timeless set consists of a vibrant turquoise blue enamel bangle bracelet and matching clip back disc earrings. Both bangle and earrings are set in a striking copper. Backstamp Matisse Renoir. Bangle: interior 8"cir. x 0.5"W. Earrings: 1" dia. Issued: 2oth centuryManufacturer: Matisse RenoirCountry of Origin: United StatesCondition: Age related wear.

Vibrant red Nefertiti style necklace possibly by Renoir but no backstamp. The red color is beautiful and quite striking against the copper that attaches each enamel link. 16"L. x 1.25"W. Issued: 20th centuryCountry of Origin: United StatesCondition: Age related wear.

Sleek and Stylish the abstract leaves fit together like a puzzle. The necklace has a long chain extender with a large shiny sterling silver bead and triangle at the closure for a finished look. The bracelet has the same size sleek links. The earrings are clip back with a stack of three leaves in a vertical. All pieces have a backstamp Sterling Sauteur Renoir. Necklace: adjustable up to 17"L x 0.5"W. Bracelet: 6.75"L. Earrings: 1.25"L x 0.5"W. Weight: 60g. Issued: 20th centuryManufacturer: Sauteur RenoirCountry of Origin: United StatesCondition: Age related wear.

A collection set of approximately 65 volumes of art reference books, each in cardboard sleeves, pub. Albert Skira, 1950’s, including Renoir, Rembrandt, Van Gogh, Cézanne, Degas, Chagall, Monet, Dürer, Manet, Goya. (2 boxes)

Pierre-Auguste Renoir 1841 - 1919 - A Dream of Harmony by Peter H Feist 1991 First Edition Softback Book published by Benedikt Taschen, good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

A ROLLED GOLD HINGED BANGLE AND THREE OTHERS, floral pattern hinged bangle, stamped rolled gold 20 microns, with additional safety chain, together with a white metal belt buckle hinged bangle, a leaf detailed hinged bangle stamped 'Matisse Renoir', and an articulated costume bracelet

SAINT LOUIS PAPERWEIGHT "ROSE DE RENOIR" 102/200D: 8 cm, H: 5 cmSAINT LOUIS PAPERWEIGHT "ROSE DE RENOIR"102/200D: 8 cm, H: 5 cm

L.T. Piver - vintage advertising poster for L.T Piver perfumes, potions, colognes etc, poster art by Françoise Estachy, well presented in the original L.T Piver labelled frame; also 'French Cancan' 1954 movie release advertisement poster, affixed to a card backing, featuring the glamour portrait photograph of star Maria Felix, a 1955 film directed by Jean Renoir (2)

A framed and gloazed Pierre August Renoir print entitled 'On The Terrace', COLLECT ONLY.

A vintage 20th century 1970s Musée Marmottan  impressionists exhibition poster. The exhibition including artists such as Renoir, Millet, Daumier, Manet, Pissarro, Monet, Cezanne and Bonnard. The poster featuring an impressionist landscape painting. Measures approx. 60cm x 40cm.

Three Boxes of Collectible Porcelain, Pottery & Glass, including cabinet plates, Portmeirion, vases, cups, saucers, ginger jars, glass bells, Aynsley, Renoir Impressions oval plates, Staffordshire pottery cats, crystal glasses, etc. Good collection for sorting.

After Pierre August Renoir (French 1841-1926): 'La Loge' (The Theatre Box), oil on canvas unsigned 50cm x 40cm

After Edgar Degas (French 1834-1917): L’Etoile (The Star), oil on canvas indistinctly signed, together with other reproduction oils including Pierre-Auguste Renoir, variously signed max 51cm x 41cm (7)

A Collection of Assorted Gents and Ladies Wristwatches various makes and styles mostly quartz. Bracelet and leather straps, assorted makes including Jacques du Manoir, Softech, Fossil, Seiko, Sekonda, Montine, Casio, Caravelle, Kelton, Ventora, Pierre Renoir, Oris, etc.

Three Boxes of Collectible Porcelain, Pottery & Glass, including cabinet plates, Portmeirion, vases, cups, saucers, ginger jars, glass bells, Aynsley, Renoir Impressions oval plates, Staffordshire pottery cats, crystal glasses, etc. Good collection for sorting.

PIERRE-AUGUSTE RENOIR - portrait of 'Margo' - a print

After Pierre-Auguste Renoir (French 1841-1919): The Skiff (La Yole), oil on canvas indistinctly signed 61cm x 91cm

Auguste Renoir - Auguste Renoir - 1894 / Description: Le Chapeau Épinglé (La fille de Berthe Morisot et sa cousine). Two girls fixing the other's hat with a hairpin; third version. 1894 Etching, with some surface tone. Renoir, Pierre-Auguste (French, 1841-1919), Le Chapeau Epingle, 1894, drypoint etching on laid paper, signed in the plate lower left corner. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. / Dimensions: 11,80 x 8,10 cm / Condition: Very good condition. Good impression on a full sheet of laid paper with wide margins / Literature: Delteil / Le Peintre-Graveur Illustré (XIXe et XXe siècles) (8.II) --- First treated by Renoir as a painting 'Chapeaux d'été' (1892). There are three etched versions as well as a lithograph of the composition. / Medium: Etching /Circa: 1894 320

Pierre-Auguste Renoir, "Sur la plage à Benneval" / Description: Sur la plage à Benneval. Etching with drypoint made by Pierre-Auguste Renoir (1841-1919) in Paris in 1892. Edition of Loys Delteil in 1923 Le Peintre-graveur illustré, vol 17, Paris 1923. Reference : D. 5 iii (Delteil 5.3). Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Dimensions: 13,8 cm x 9,5 cm / Condition: Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Literature: D. 5 iii (Delteil 5.3) / Medium: etching /Circa: 1892 300

After Auguste Renoir, Nus, colour print, 31cm x 39cm, framedGood condition

A 1920's hand painted porcelain liqueur bottle after Renoir, H. 27cm.

A Framed Renoir Print, At the Theatre, 41x53cm

Renoir, Pierre-Auguste: (1841 Limoges - Cagnes-sur-Mer 1919). Berthe Morisot. Radierung auf Papier, wohl später Abzug. Plgr. ca. 10,5 x 9 cm. Unt. li. i. d. Pl. sign. 'Renoir'. Im Passep. hi. Gl. ger. (ungeöffnet). - Delteil 4. - Leicht fl. D

ATTRIBUTTED TO PIERRE AUGUSTE RENOIR - OIL ON CANVAS

Auguste Renoir (1841-1919). „Die Badende“. Radierung, in Passepartout, 16 x 11 cm.

George Grosz, eigentlich „Georg Ehrenfried Groß“, 1893 Berlin – 1959 ebendaHOMMAGE À RENOIR, 1938Öl auf Leinwand.66,1 x 51,2 cm.Rechts unten mit Pinsel in Rot signiert „Grosz“, verso mit dem Nachlaßstempel versehen und numeriert I-A5-7.Beigegeben eine Expertise von Ralph Jentsch, 20.2.2018, in Kopie.„Meine Welt ist vornehmend eine düstere, a haunted one, wie sie hier über mich sagten – aber hie und da (welche Spaltung) gibt es auch Gegenden ohne Furcht, Schmerz und Krieg, Gegenden, wo Nymphen leben und eine eigene Sinnlichkeit.“ (George Grosz, 1946, Brief an Elisabeth Lindner). Ab 1937 wandte Grosz sich vermehrt der Aktmalerei zu und ließ sich von den Werken der Alten Meister inspirieren. Für fast alle Akte stand ihm seine Frau Eva Modell, von deren sinnlichem Körper er behext und fasziniert war. Als Pendant zu Hommage à Renoir malte er 1938 auch eine Hommage à Rubens.Grosz‘ stehender Rückenakt ist in einem Harem-ähnlichen Interieur dargestellt. „Festzuhalten bleibt, dass die Rückenfiguren zu den besten Werken dieses Themas zählen.“ (Birgit Möckel, George Grosz in Amerika, Frankfurt u.a. 1997, S. 132). Mit Beginn des Jahres 1937 wendet Grosz sich wieder in größerem Umfang der Aktmalerei zu. Bereits in den Berliner Jahren hatte ihm seine Frau Eva Modell gestanden. Wie prägend ihre weibliche Erscheinung für seine künstlerische Arbeit wurde, beschreibt der befreundete Schriftsteller Walter Mehring u.a. so: „Wo immer (Grosz) die weibliche Figur in ihrer üppigen Vollendung anbringen wollte, in seinen Aktstudien der Rubens- und Bouchermanier, erschien ihm leibhaftig Eva. Kaum ein anderer Künstler hat so monoman, so behext eine Geliebte, die eigene Frau bis zur Erschöpfung in allen ersinnlichen Stellungen abgezeichnet, nach der Natur entblößt und an die Leinwand gemalt“. Ebenfalls 1938 malte Grosz einen Doppelakt, den er „Hommage to Rubens“ betitelte. Grosz verehrte Breughel, Bosch, Courbet und nicht zuletzt Renoir. In einem 1946 verfassten Brief an Elisabeth Lindner, eine Tante seiner Frau, beschreibt er die doppelte Natur seiner Aktmalerei: „Malte auch die andere Seite. Viele Akte - die Frau ist für mich Leben, Zukunft, Trägerin des Kommenden. Sie stelle ich positiv dar – obwohl oft in von Winden (Gedanken und Melodien) bewegter Szenerie. Renoir hat niemals die Vision gehabt von einer Frau, eine seiner so schön gemalten Akte, angebrannt, zerschunden oder zerstört. Man kann solcherlei Gabe bewundern. Ich meine die Gabe, die einer besitzt, seine bukolisch-arkadische Welt zu beschwören – ich habe diese so wunderbare Gabe nur halb – meine Welt ist vornehmend eine düstere, a haunted one, wie sie hier über mich sagten – aber hie und da (welche Spaltung) gibt es auch Gegenden ohne Furcht, Schmerz, und Krieg, Gegenden, wo Nymphen leben und eine eigene Sinnlichkeit“.Provenienz:Atelier des Künstlers, Douglaston, Long Island, 1938.Nachlass George Grosz, 1959.Sheldon Ross Gallery, Birmingham, MI.Privatsammlung, New York.Ausstellung:Northport, Long Island, Vera Lazuk Country Life Art Center, George Grosz. Nudes, 1.-29.6.1958, Kat.-Nr. 1.Berlin, Kunsthandel Jörg Maas, George Grosz. Arbeiten aus fünf Jahrzehnten, Kat.-Nr. 24, Farbabb. (1381763) (10)George Grosz, also know as „Georg Ehrenfried Groß“, 1893 Berlin – 1959 ibid.HOMMAGE À RENOIR, 1938Oil on canvas.66.1 x 51.2 cm.Signed lower right: Grosz, verso stamp of the artist’s estate and numbered I-A5-7Accompanied by an expert’s report by Ralph Jentsch, dated 20 February 2018, in copy.Provenance:From the artist’s studio, Douglaston, Long Island, 1938.Estate of George Grosz, 1959.Sheldon Ross Gallery, Birmingham, MI.Private collection, New York.Exhibition:Northport, Long Island, Vera Lazuk Country Life Art Center, George Grosz. Nudes, 1st - 29th June 1958, cat. No. 1.Berlin, Kunsthandel Jörg Maas, George Grosz. Arbeiten aus fünf Jahrzehnten, cat. no. 24, illustated in colour.

PIERRE AUGUSTE RENOIR (1841-1919)La danse à la campagne, 2e planche, circa 1890 (Delteil/Stella, 2)Eau-forte en noir sur vélin Porte le cachet de la signature Editée par Ambroise Vollard, Paris 33 x 24,5 cm - grandes margesBlack etching on wave paper, estamped and signed Footnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE AUGUSTE RENOIR (1841-1919)Le chapeau épinglé II (La fille de Berthe Morisot et sa cousine), 2ème état, Circa 1894 (Delteil/Stella, 7 II)Eau-forte et pointe sèche sur noir sur vélin Porte le cachet de la signature Editée par Ambroise Vollard, Paris 32,5 x 25 cm Etching and drypoint on black on wove paper, with the signature stampFootnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE AUGUSTE RENOIR (1841-1919)Baigneuse assise, circa 1897 (Delteil/Stella, 11)Planche extraite de « La Vie et l'œuvre de Pierre-Auguste Renoir » Eau forte en noir sur vélin Porte le cachet de la signature Edition totale à 1 000 exemplaires Editée par Ambroise Vollard, Paris 32,1 x 24,7 cmBlack etching on wove paper, with the signature stamp, edition of 1 000Footnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE AUGUSTE RENOIR (1841-1919)Les enfants jouant à la balle, 1900 (Delteil/Stella, 32 ; Johnson, 111)Lithographie en noir sur vergé filigrané « mbm »D'une éditon à 200 exemplairesToutes marges non ébarbéesImprimée par Auguste Clot, Paris Editée par Ambroise Vollard, Paris88,5 x 61,7 cmBlack lithograph on 'mbm' watermarked laid paper, from an edition of 200, untrimmed marginsFootnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE AUGUSTE RENOIR (1841-1919)Douze lithographies originales de Pierre Auguste Renoir, 1904-1905 (Delteil/Stella 37 à 48 ; Johnson, 118)Ensemble de 12 lithographies sur vélin blanc Toutes sont signées à l'encre noireEditées par Ambroise Vollard Vollard en 1919On y joint la table des sujets en phototypieFormat des feuillets : 25,3 x 33,2 cm - Toutes margesSet of 12 lithographs on white vellum, all signed in black inkFootnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE-AUGUSTE RENOIR (1841-1919)Le Chapeau épinglé (1re pl.), 1897 (Delteil/Stella 29 ; Johnson, 107)Lithographie en vert olive sur vergé crèmeSignée dans la planche Contresignée dans la planche en noir Editée par Ambroise Vollard, Paris Toutes marges non ébarbées79,5 x 57,5 cmOlive green lithograph on cream laid paper, signed in the plate, countersigned in the plate in blackFootnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

PIERRE AUGUSTE RENOIR (1841-1919)Étude pour une baigneuse assise, 1918 (Delteil, 16)Pointe sèche sur vélinTirage à 100 épreuves sur vélin Edité par Ambroise Vollard, ParisTableaux, Pastels et Dessins de Pierre-Auguste Renoir, Paris32,7 x 24,7 cmDrypoint on wove paper, edition of 100 on vellumFootnotes:ProvenanceAncienne collection Henri M. Petiet puis par descendanceFor further information on this lot please visit Bonhams.com

ATTRIBUTTED TO PIERRE AUGUSTE RENOIR - OIL ON CANVAS75x65cm  

A BOX AND LOOSE PAINTINGS AND PRINTS, to include amateur oils on board, a watercolour depicting the Royal Masonic School in Bushey in 1950 signed L.A.L.D. RENOIR, signed Catherine Daniel cat print 'Reclining Tabby', two picture frames etc (1 box + loose)

Jiri Georg Dokoupil (Krnov 1954 – lebt in Berlin, Madrid, Rio de Janeiro, Plovdiv/Bulgarien und Las Palmas/Gran Canaria). Ohne Titel (Auction – Renoir). 1989Kerzenruß auf Leinwand. 120 × 150,3 cm (47 ¼ × 59 ⅛ in.). Rückseitig mit einem Etikett der Galerie Beaubourg, Paris.[3356] Wir berechnen auf den Hammerpreis 32% Aufgeld.

Auguste Renoir (Limoges 1841 – 1919 Cagnes-sur-Mer). „Le chapeau épinglé“ (deuxième planche). 1898Farblithografie auf Arches-Bütten (Wasserzeichen: MBM). 62 × 48,8 cm (91 × 62,8 cm) (24 ⅜ × 19 ¼ in. (35 ⅞ × 24 ¾ in.)). Delteil 30.–Einer der Probeabzüge in Farbe vor der Auflage von 200 Exemplaren. [3065] Gerahmt. Provenienz: Anneliese und Dr. Wolfgang Schieren, MünchenWir berechnen auf den Hammerpreis 32% Aufgeld.

LANG FRITZ: (1890-1976) Austro-Hungarian born film director whose works include the ground-breaking futuristic Metropolis (1927) and the influential film noir precursor M (1931). An interesting Autograph Manuscript, unsigned (although with his surname LANG and initials F.L. appearing at various stages within the text), fifteen pages (separate leaves), 4to, n.p. (Los Angeles), 2nd March - 11th April n.y. (c.1966). The manuscript, written in English, represents Lang's daily planner whilst making a visit to Los Angeles in the company of the German-French film critic and writer Lotte Eisner, with various events and meetings etc. recorded in a tabular form and divided between day and evening, including telephoning Mary Pickford upon his arrival, receiving calls from Josef von Sternberg ('picked me up at 1 for lunch') and King Vidor, contacting William Wyler, Alfred Hitchcock, Edith Head, Gene Kelly ('will call when he has time'), Billy Wilder, Mervyn LeRoy, George Cukor, Stanley Kramer, John Ford, Lewis Milestone, Vincente Minelli and others, and also including various notes recording his daily activities, 'working on Bogdanovich's interview', 'playing Wartime Underground records of Lang', '10am Dr for Typhoid and Cholera shots', 'Luft called re Sol Lesser rendezvous', 'Staff of LA County Museum debating Homage to Renoir', 'to Larry Edmonds Bookshop….would like to exchange in Paris posters etc., afterwards to Academy Theatre at Melrose Ave', 'Lotte looked at articles and pictures of Fritz Lang', 'Lotte called Arthur Knight: will bring a drawing by Chaplin', 'David Raskin called: he gave “Chaplin drawing” to Arthur Knight but would like to get from C.F. a letter with valuation (to subtract it from his income tax). He will look for a music score of a Chaplin film' etc., and noting the names of various restaurants where they dined in the evenings, and the occasional film they have seen, including Our Man Flint. The final page features a list of expenses incurred by Lang during the trip. Many of the events and names are underlined or circled in bold red ink. A fascinating document illustrating the connections Lang maintained in Hollywood with some of film's legendary directors, producers and actors. Some light age wear, generally VG

RENOIR JEAN: (1894-1979) French film director and actor. Vintage signed 8 x 10 photograph of Renoir standing in a half-length profile pose, in costume as Octave, alongside actor Julien Carette, in costume as the poacher Marceau, in a scene from the French satirical comedy drama film La regle du jeu (1959; The Rules of the Game) which Renoir also directed. Signed by Renoir in blue fountain pen ink with his name alone at the base of the image. A couple of very light, extremely minor corner creases, VG Provenance: The present photograph originates from the collection of Pierre Goulliard, a French gentleman who, for over 50 years, dedicated himself to obtaining in person autographs of British, American and European movie stars, always obtaining the signatures in fountain pen ink.

RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, two pages (written to the first and third sides of the feint ruled bifolium). 8vo, Cagnes-sur-Mer, January 1909, to a lady, in French. Renoir writes a charming letter from his retreat on the French Riviera, commencing ‘Coco a recu le chemin de fer electrique dont il est tres fier. Quoiqu'il ne sache pas le faire marcher. Je lui avait predit que electrique etait de trop. Mais emballe par ce mot magique il n'a rien ecoute’ (Translation: ‘Coco received the electric railway of which he is very proud. Although he doesn’t know how to make it work. I told him that electric was too much. But carried away by this magic word he didn’t listen to anything’), further informing his correspondent that his family are all well, and hoping that she will survive the cold weather, and also writing ‘Nous avons un temps superbe qui va tout a fait a mes rhumatismes……Je pense souvent a vous car la solitude a cela de bon c'est que l'on peut par les pensees etre avec ceux qui vous plaisent. Ma femme et moi la brulle vous souhaitons un tas de bonnes choses’ (Translation: ‘We have superb weather which is helping my rheumatism……I often think of you because the good thing about solitude is that you can, through your thoughts, be with those you like. My wife and I wish you a lot of good things’). VG Claude Renoir (1901-1969) French ceramicist, the third and last son of Renoir. Affectionately named ‘Coco’ within his family, the young Claude was the subject of a number of paintings by his father.

RENOIR PIERRE-AUGUSTE: (1841-1919) French painter. A.L.S., Renoir, one page, 8vo, n.p., n.d., to [Claude] Monet (‘Mon cher Monet’), in French. Renoir explains that he didn’t meet Mr. Chocquet, who was preoccupied with family matters and had to leave suddenly to return to his country, and continues, in part, ‘Il a pense que tres probablement tu aurais besoin de tes toiles de ta boite etc. Je l'ai tranquillise en le priant de me les envoyer chez moi. Il a ete enchante de la propisition.......Il est donc probable que lorsque tu recevras cette lettre tes bibelots seront chez moi.......En tous cas tu n'ay pas a te presser; tu ne me genes en rien’ (Translation: ‘He thought that most likely you would need your canvasses from your box etc. I reassured him by asking him to send them to my house. He was delighted with the proposal…..It is therefore probable that when you receive this letter your trinkets will be with me…….In any case you don’t have to hurry; you don’t bother me at all’). With two old tape stains to the left, one affecting several words of text (which remain legible), otherwise about GClaude Monet (1840-1926) French Impressionist painter.Victor Chocquet (1821-1891) French government official and art collector, a friend of Renoir whom Chocquet commissioned to paint his portrait. In 1899 when Chocquet’s significant collection was sold at auction it included thirty-two works by Cezanne, eleven by Renoir, eleven by Monet and one each by Pissarro and Sisley. Other artists represented in the collection included Corot, Courbet and Delacroix.

ZOLA EMILE: (1840-1902) French novelist. A good A.L.S., Emile Zola, two pages (written to the first and third sides of the bifolium), 8vo, Paris, 14th March 1890, to a colleague, in French. Zola commences his letter with gratitude, ‘Je suis, bien heureux, mon cher confrere, de pouvoir vous remercier pleinement et sans restrictions car votre article sur "La Bete Humaine" m'a fait le plus grand plaisir’ (Translation: ‘I am very happy, my dear colleague, to be able to thank you fully and without restrictions because your article on “La Bete Humaine” gave me the greatest pleasure’) and continues ‘Vous y insistez particulierement sur une partie que j'aime moi aussi bien qu'elle disparaisse un peu, comme affacee, dans la violence de l'ensemble; et j'ai ete tres touche de la voir ainsi mise en lumiere par vous’ (Translation: ‘You place particular emphasis on a part that I also like, although it disappears a little, as if subdued, in the violence of the whole; and I was very touched to see it thus brought to light by you’). Some very light, extremely minimal age wear, VGZola’s novel La Bete Humaine (1890) was the seventeenth in his Les Rougon-Macquart series and is a tense psychological thriller based on the railway between Paris and Le Havre in the 19th century. The story has been adapted for the cinema on several occasions including a 1938 movie of the same title directed by Jean Renoir.

J. J. HOVENER HOMAGE A RENOIR CAFE BY A RIVER,oil on canvas, signed lower right, framed60cm x 90cm

Unframed. Oil on canvas. 840mm x 590mm x 20mm ARTIST STATEMENT: Now entering University, I've been frequently reminiscing about my childhood and all that in my life which can never be reclaimed. Having lived in the same place for the vast majority of my consciousness, the house I've grown up in makes up a large portion of my perceived universe making the thought of moving away being equivalent to the destruction of part of my world. As such, I created this painting to spend some final moments in appreciation of my home and to physically manifest a testimony to my youth. In producing the piece I was inspired by Monet and Renoir for the local significance of his work.

VALADON, SUZANNE1865 Bessines/Frankreich - 1938 ParisTitel: "Les jardins de la rue Cortot". Datierung: 1922. Technik: Öl auf Leinwand. Maße: 117 x 90cm. Bezeichnung: Signiert und datiert unten links: Suzanne Valadon 1922. Betitelt und nochmals signiert verso oben rechts: Les jardins du 12 de la rue Cortot à Paris Suzanne Valadon. Daneben bezeichnet: No 1 d'office. Rahmen/Sockel: Modellrahmen. Provenienz:- Privatsammlung- Sammlung Bernés, Marouteau & Cie, Paris- Privatsammlung SchweizAusstellungen:- Galerie Georges Petit, Paris 1932- Pinacothéque de Paris, 2009Literatur: - Pétridès, Paul: L'oeuvre complet de Suzanne Valadon, Paris 1971, WVZ.-Nr. P258, Abb. (hier abweichend betitelt)- Ausst.-Kat. Valadon - Utrillo, Pinacothéque de Paris, 2009, Kat.-Nr. 103, S. 310, Abb.- Suzanne Valadon zählt zu den bemerkenswertesten und radikalsten Künstlerinnen der Pariser Moderne, deren bedeutendes Werk zurecht wieder neue Aufmerksamkeit erhält- Ansprechendes postimpressionistisches Gemälde mit sattem Kolorit und kräftigem Pinselstrich- Dargestellt ist das berühmte Atelierhaus und der Garten in der Rue Cortot am Montmartre, wo Valadon mir ihrem Sohn Maurice Utrillo und ihrem Lebensgefährten André Utter lebte- Werke der Künstlerin sind in vielen internationalen Sammlungen vertreten, u.a. Musée d'Orsay und Centre Pompidou, Paris, Metropolitan Museum of Art, New York, und British Museum, LondonEin beschaulicher, harmonischer Augenblick ist in diesem Bild festgehalten: Ein Mann sitzt im Schatten eines Pavillons im üppigen Garten hinter einem Haus und liest die Zeitung. 1922, als die Malerin Suzanne Valadon dieses Bild ihres lesenden Ehemanns André Utter im Garten des Hauses 12, rue Cortot malte, war sie 57 Jahre alt, eine beachtlich erfolgreiche Malerin und eine prägende Persönlichkeit des Künstlerviertels Montmartre in Paris. Der Weg dorthin war allerdings überaus stürmisch und eine Karriere als Künstlerin war der so nonkonformen Frau nicht vorgezeichnet.Marie-Clémentine Valadon, wie sie ursprünglich hieß, entstammte dem Proletariat. Seit ihrer Kindheit musste sie mit Gelegenheitsarbeiten zu ihrem Lebensunterhalt und dem ihrer alleinerziehenden Mutter beitragen. Ihr Traum, als Akrobatin zum Zirkus zu gehen, scheiterte nach einem Unfall.Als ihr Körper heranreifte wurde sie Künstlermodell, zunächst für Puvis de Chavanne, dann für Auguste Renoir  (vgl. Abb. 2) und Henri de Toulouse-Lautrec, deren Geliebte sie auch wurde. Mit heute weltberühmten Portraits aus der Hand von Renoir und Toulouse-Lautrec ist Suzanne Valadon vielleicht DAS Gesicht des Impressionismus. Toulouse-Lautrec war es, der ihr vorschlug, ihren Vornamen zu ändern und er erkannte und förderte auch Valadons künstlerisches Talent.Schon als Kind hatte Suzanne Valadon gerne gezeichnet. Während der Modell-Sitzungen, ihrer Zeit in den Ateliers und in Gesellschaft der Künstler konnte sie deren Techniken genau beobachten und wurde Zeugin ihrer Gespräche. Dieses "Privat-Studium" setzte sie autodidaktisch um und die Zeichnungen der Zwanzigjährigen beeindruckten den alten Edgar Degas, dessen Einschätzung Henri de Toulouse-Lautrec vermittelt hatte. Er wurde der erste Käufer von Valadon-Zeichnungen, brachte ihr Drucktechniken bei und wurde Valadons Mentor.Zu diesem Zeitpunkt war Suzanne Valadon selbst schon Mutter eines unehelichen Sohnes. Wer der Vater des kleinen Maurice war, wusste Valadon nicht. Nach einigen Jahren erst bekannte sich der spanische Kunstkritiker Miquel Utrillo zu dem Jungen, der später selbst als Maler der Signatur seiner Gemälde als "Maurice Utrillo,V" den Anfangsbuchstaben seiner Mutter zufügte. Es brauchte einige Zeit, bis Suzanne Valadon von ihrer Kunst leben konnte. Die Ehe mit einem Bankier brachte vorübergehend materielle Sicherheit, doch brach sie aus dem bürgerlichen Korsett wieder aus und ging 1909 eine Liaison mit dem 21 Jahre jüngeren Maler André Utter ein, der ein Freund ihres Sohnes war und ihr seinerseits Modell stand. Mit ihm, den sie zu Beginn des ersten Weltkriegs heiratete, und ihrem Sohn Maurice Utrillo bezog sie 1912 eine gemeinsame Wohnung und Atelier in der No. 12-14 Rue Cortot, einem der ältesten Häuser auf dem Montmartre. Hier hatte sie schon in den 1890er Jahren mit ihrem ersten Ehemann gewohnt.In diesem von Gärten umgebenen Gebäudekomplex aus dem 17. Jahrhundert, unterhalb der Kirche Sacre-Coeur und mit Blick auf die Weinberge des Montmartre haben viele Künstler wie Auguste Renoir, Émile Bernard oder später Raoul Dufy gelebt. Heute steht das Haus und seine Gärten Besuchern offen und beherbergt das Musée de Montmartre inklusive des rekonstruierten Ateliers der Gemeinschaft Valadon/Utter/Utrillo. Auch der Garten-Pavillon, Utters Refugium in diesem Gemälde, wurde wieder aufgebaut (vgl. Abb. 1).Die drei Individualisten, mit stärksten Abhängigkeiten von einander, galten bald als "Trio infernale" auf dem Montmartre. Besonders Maurice Utrillos Alkohol-Sucht und seine damit einhergehende Gewalttätigkeit brachten fortwährend Konflikte. Nichtsdestotrotz war die Zeit in der Rue Cortot die fruchtbarste und erfolgreichste in Suzanne Valadons Leben. Sie beteiligte sich an Gruppenausstellung, hatte selbst Einzelausstellungen u.a. in den renommierten Galerien Berthe-Weill oder Bernheim-Jeune. André Utter wurde mehr und mehr zu ihrem und Maurice Utrillos Manager, denn auch der Sohn erfuhr seit den 1910er Jahren starken Zuspruch von Publikum und Kunstmarkt. Der Moment, den Suzanne Valadon in diesem Gemälde eingefangen hat, erschließt sich in diesem historischen Kontext. Der lesende André Utter ist hier allerdings innerhalb der Komposition von Haus und Garten so klein dargestellt, dass es sich nicht um ein Portrait handelt. Suzanne Valadons so spezieller, eigener Stil, das Nebeneinander von stark konturierten Elementen und dem völlig aufgelösten Farbteppich im Bereich des wuchernden Pflanzenmeeres wird hier deutlich. Die gereifte Künstlerin lässt den Betrachter in ihrer so typischen Manier teilhaben an einem seltenen Moment der Ruhe und Harmonie. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum KatalogFür dieses Objekt fällt eine zusätzliche EinfuhrUSt-Umlage an, da es aus dem Drittland temporär eingeführt wurde (AGB §V5.2).

A large collection of costume jewellery,to include a copper hinged foliate bangle, by Matisse Renoir, a base metal oval paste vitreous enamel brooch, a base metal vitreous enamel bead necklace, a French jet necklace, a purple glass bead necklace, a garnet bead necklace, and a large quantity of costume jewellery to include brooches, stick pins, earrings, quartz watches, etc.,together with a small group of silver,to include a silver circular Viking longship brooch, stamped '830S AH', a silver and red glass bead satellite necklace, a silver opalescent glass floral pendant, suspended by a silver curb link chain, and earrings, brooches, findings etc., all tested as silversilver - 58.04gCondition ReportMarks and scratches.Tarnish.As found.

Marcel Dyf, French 1899-1985 - Bacchus, c.1965; oil on canvas, signed lower right 'Dyf', 65.3 x 54.3 cm (ARR) Provenance: with Frost & Reed, London; private collection and thence by descent Note: with partial Frost & Reed label with artist's name and title. With thanks to Claudine Dyf, the wife of the artist, for her assistance in the cataloguing of this work. According to Claudine Dyf, this work was likely painted around 1965 in Arles. Born in Paris, Dyf moved to Arles and set up a studio painting the countryside around him. Early in his career, he exhibited at the Salon des Artists Francais, Salon d'Autumn and Salon des Tulleries. After the war, he would travel seeking inspiration but always returning home to Brittany. Taking inspiration both from the Impressionists, particularly Pierre-Auguste Renoir, and the Old Masters, his portraits expertly distilling Classical and Modern art. In 1956 he met art dealer Sir Christopher Wade in London who was instrumental in showing his work into the UK and the United States. 

- Nikke Orloff - Parfum Orloff in tiny red velvet heart box. - Fleur de Amour. - Helena Rubinstein - White flame 1 fl. oz., Mini in original box , circa 1942. - Chichi by Renoir in original box. Circa 1940's. (Misc - 30, 1064, 1021, 1026) Provenance: single owner lifetime collection from Jacksonville, FL - Entire collection has been donated to St. Elizabeth Ann Seton Catholic Church where the proceeds will be used to install a new roof for St. Elizabeth Ann Seton Catholic Church, Palm Coast, FL 32164, which will cost approximately $2 million. - The descriptions for these lots have been comprised from the collectors notes along with extensive research that was done by an associate of the church. We used these notes to help reference and list these items. Please be aware that the descriptions are only guides and the items are being sold as photographed and we are not held liable for any inaccuracies. ALL SALES WILL BE FINAL. - If there were any noticeable condition issues on the bottles or removable stoppers, we tried our best to photograph and show said damage. Please check all images as even if no issues are listed in the description this does not indicate lack of wear and tear. - We cannot guarentee the contents of the bottles, these pieces have been collected over a lifetime and some have liquid inside of them. Just because there is liquid inside does not guarentee that it is the correct perfume for the bottle itself. Pleasase also be aware that bottles may have to be emptied for shipping purposes which will be dictated by your location and shipping restrictions. We are not held liable for the contents of the bottles as they are being sold AS-IS

- Chi Chi Art Deco Heart Perfume Bottle by Renoir w/ Bakelite Cap. Circa 1942. - Unidentified bottle - Isadora Perfume by Parfums Isadora, circa 1979 - Robert Benson. (Misc - 1121, 1283, 35) Provenance: single owner lifetime collection from Jacksonville, FL - Entire collection has been donated to St. Elizabeth Ann Seton Catholic Church where the proceeds will be used to install a new roof for St. Elizabeth Ann Seton Catholic Church, Palm Coast, FL 32164, which will cost approximately $2 million. - The descriptions for these lots have been comprised from the collectors notes along with extensive research that was done by an associate of the church. We used these notes to help reference and list these items. Please be aware that the descriptions are only guides and the items are being sold as photographed and we are not held liable for any inaccuracies. ALL SALES WILL BE FINAL. - If there were any noticeable condition issues on the bottles or removable stoppers, we tried our best to photograph and show said damage. Please check all images as even if no issues are listed in the description this does not indicate lack of wear and tear. - We cannot guarentee the contents of the bottles, these pieces have been collected over a lifetime and some have liquid inside of them. Just because there is liquid inside does not guarentee that it is the correct perfume for the bottle itself. Pleasase also be aware that bottles may have to be emptied for shipping purposes which will be dictated by your location and shipping restrictions. We are not held liable for the contents of the bottles as they are being sold AS-IS

Théodore Duret Die Impressionisten. Berlin, B. Cassirer 1909. Erste deutsche Ausgabe der wichtigen und frühen Monographie zum Impressionismus. 1 von 970 numerierten Exemplaren. Mit den Radierungen von Auguste Renoir (3 Akte - Delteil 12, 14, 15), Camille Pissarro (Faneuses - Delteil 94/XII), Armand Guillaumin (Farbradierung), Paul Cézanne (Porträt Guillaumin ), Berthe Morisot und P. M. Roy nach Alfred Sisley. EINBAND: Halblederband der Zeit mit Rückenvergoldung. 26 : 21 cm. - ILLUSTRATION: Mit 7 Orig.-Radierungen, 1 Radierung nach Sisley und zahlreichen Abbildungen.  - ZUSTAND: auf Anfrage. - LITERATUR: Fromm 8375. - Lang S. 11. - Vgl. Mahé I, 810. First German edition of the important early work on Impressionism. Contemp. half calf. With 7 orig. etchings by A. Renoir, C. Pissaro, P. Cézanne, B. Morisot and A. Guillaumin and 1 etching by P. M. Roy after Sisley and many illustrations. - Binding slightly stained, spine weakly faded. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Manner of Pierre-August Renoir, The Opera Box, oil on canvas, framed

RENOIR, Pierre-Auguste, "Le chapeau épinglé", Original-Radierung, 11,5 x 8, 1894, limitierter Abzug der 1950er Jahre von der Original-Platte, WV Melot 8, Modellrahmen

A Collection of Assorted Gents and Ladies Wristwatches various makes and styles mostly quartz. Bracelet and leather straps, assorted makes including Jacques du Manoir, Softech, Fossil, Seiko, Sekonda, Montine, Casio, Caravelle, Kelton, Ventora, Pierre Renoir, Oris, etc.

Pierre Auguste Renoir, French 1841-1919,Femme au Cap de Vigne (3eme variante), 1904;lithograph on wove, with printed signature, from the edition of 1000, probably printed by Vollard circa 1919, image: 25 x 17 cm, (framed) Provenance: Craddock and Barnard, Museum Street, London / Private Collection

Henri-Théodore Fantin-Latour,  French 1836-1904- L'Aurore chassant la Nuit; oil on canvas, signed 'Fantin' (lower left), 66 x 81.8 cm. Provenance:  Gustave Tempelaere, Paris.  Alex Reid, Glasgow.  Trust of the late Dr William Boyd, LLd of Dundee, Sotheby's, London, 29 November 1967, lot 208.  Acquired at the above sale by Arthur Tooth & Son, London.  Anon. sale, Christie's, London, 16 November 2006, lot 11.  Private Collection, UK (by descent). Literature:  Madame Fantin-Latour, 'Catalogue de l'Oeuvre de Henri Fantin-Latour', Paris, 1911, p.224, no.2126. Note:  The authenticity of this work has been confirmed by Madame Sylvie Brame. Fantin-Latour first studied with his father, the artist Théodore Fantin-Latour (1805-1872/5), before enrolling at the École des Beaux-Arts in 1854, where his classmates included Edgar Degas (1834-1917), Alphonse Legros (1837-1911) and Jean-Charles Cazin (1840-1901). Despite his own work being stylistically distinct from that of the Impressionists, Fantin-Latour was closely associated with central figures from the Impressionist movement, exhibiting with Édouard Manet (1832-1883), Pierre-Auguste Renoir (1841-1919), and Claude Monet (1840-1926).  Fantin-Latour produced a number of expressive mythological and allegorical scenes such as the present work, which depicts 'Dawn chasing away the night'. These paintings are distinguished by their loose brushwork, which imparts them with a striking sense of dreaminess befitting their subjects. Fantin-Latour treated the subject of 'L'Aurore' on multiple occasions, including in a slightly smaller composition which sold recently at Christie's, London, on 15 July 2021 (lot 15). The present work was painted in 1904. 

A large quantity of reference books on artistsComprising approximately seventy books, mainly on Impressionist and Post-Impressionist artists, including: Pablo Picasso: A Retrospective published by The Museum of Modern Art, New York, 1972; Stanislas Lépine (1835-1892). Catalogue raisonné de l'oeuvre peint by Robert Manuel Schmit, 1993; The Rijksmuseum: Vincent van Gogh,, edited by E. van Uitert and M. Hoyle; a catalogue raisonné of 820 works of Johan Barthold Jongkind by Victorine Hefting; as well as books on Renoir, Bernard, Degas, Gaugin, Manet, Sisley, Monet and van Gogh, books on artists represented in the collection including Jongkind, Van Dongen, Van Rysselberghe and Boudin, as well as twenty-two copies of the Société des amis de Jongkind (Association of the Friends of Jongkind), the books published in Dutch and English, qtyThis lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

BOHUMIR STROHALM BOCIAN (FRENCH, 1912-2002) (6)Zebra signed 'Bocian' (lower left), signed and inscribed 'A Bernadotte pour votre amour de l'art moderne Bocian' grey wash 16 x 23cm together with four other works on paper by the same hand, each signed, three inscribed; and a pencil sketch of a woman seated after Renoir (2 unframed) (6) ARR