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A complete collection of fifty silver gilt “Les Chefs- D’Oeuvre De L’ Impressionnisme” medallions featuring art works by Renoir, Degas, Van Gogh, Seurat, Monet, Manet, Cezanne, Gauguin, etc. (some tarnishing) contained in original box.

A P. Renoir lady's wristwatch on stamped 375 link bracelet strap

Robert Philipp (American, 1895-1981). Oil on canvas painting titled "Finale" depicting the ending of a stage play, 1967. Signed along the lower left; further signed, dated, and titled along the verso. In a giltwood frame. Philipp was heavily influenced by the impressionists and post-impressionists and he is often compared to Edgar Degas and Pierre-Auguste Renoir.Framed; height: 30 1/2 in x width: 34 1/2 in.Condition: There are no tears, losses, or restorations when inspected under UV light. The colors are bold and deep. Some wear to the frame; there are some losses to the gilt along the frame; there are a few minute chips to the wood frame.

JACQUES VILLON (FRENCH, 1875-1963) AFTER AUGUSTE RENOIRLa Loge signed, numbered and inscribed in pencil 'Jacques Villon 75/200' (in lower margin) etching with aquatint 26.5 x 21cm ARR

GUILLAUMIN, ARMAND Paris 1841 - 1927Titel: "Le Brusc". Felseninsel an der Côte d'Azur. Datierung: Um 1901. Technik: Öl auf Leinwand. Maße: 24,5 x 33,5cm. Bezeichnung: Signiert unten links: Guillaumin. Rahmen: Rahmen.Rückseitig:Auf der Leinwand handschriftlich betitelt: "le Brusc".Auf dem Keilrahmen verschiedene Etiketten, u.a. der Kölner Gemälde-Galerie Abels (1962) sowie der Ausstellung im Wallraf-Richartz-Museum 1996.Ausstellung:Vom Spiel der Farbe. Armand Guillaumin (1841-1927). Ein vergessener Impressionist, Ausstellung Wallraf-Richartz-Museum Köln, 24.02. - 05.05.1996, Kat.Nr. G80, mit Abb.Provenienz:Sammlung Dr. M. Schunck, Trier bis 1990;Privatbesitz, Deutschland.Pinien säumen das Ufer des Fischerdorfes Le Brusc, vor dem pyramidenartig ein Fels aus dem unergründlich blauen Wasser des Mittelmeeres emporragt. Kontrastreich heben sich die einzelnen Landschaftselemente von Wasser, Himmel und Erde in kräftigen Grün-, Blau- und Ockertönen gegeneinander ab. Dazwischen mischen sich Nuancen von Türkis, Rosa, Rot, und Mauve. Mehrfach zog es Armand Guillaumin in den kleinen malerischen Ort zwischen Toulon und Marseille, den auch die Künstlerkollegen Pierre-Auguste Renoir, Eugène Boudin oder Paul Signac aufsuchten und ins Bild setzten. Guillaumin widmete sich hier wiederholt einzelnen Felsformationen und untersuchte sie - wie sein Malerkollege Monet - fast systematisch bei unterschiedlichen Licht- und Witterungsverhältnissen. Genau beobachtet er in seiner Freilichtmalerei den Wechsel von Licht und Schatten, auf der Erde wie auf dem Wasser, um Stimmungen und Atmosphäre in seinen Werken einzufangen. Der Maler zählt zu den frühen und wichtigen Vertretern des Impressionismus. Gemeinsam mit seinen Künstlerkollegen und Weggefährten Paul Cézanne und Camille Pissarro war er bereits 1863 auf dem ersten Salon des Refusés vertreten. Den Fokus auf die Wahrnehmung des Auges und des Lichts in der Natur legend, sind seine farbenfrohen, expressiven Bilder wegweisend für die Entwicklung der modernen Malerei.Armand Guillaumin Frankreich Impressionismus 2.H. 19.Jh. Gemälde Küste Malerei MediterranErläuterungen zum Katalog

Framed print The Umbrellas by Renoir, 76cm x 50cm.

Art Books, to include Degas, Monet, Turner, Picasso, Renoir Matisse, Van Gogh, Henry Moore, (25):- Two Boxes.

Renoir; Drawings, by John Rewald, Bittner, NY, 1946. Herwith six artbooks on Degas, Rodin, Dali, Giambologna a.o. [7]

Pierre Renoir and Richared Guino sculpture in bronze with green patina titled "The Little Washer (squatting)", clay modelled by Renoir and Guino in 1916/17 and later reworked in plaster, casted in bronze (copyright 1983) by Süsse fondeur - Paris in 1989 signed and with foundry mark was exposed in Bruges, Monaco, Cannes and Tokyo||RENOIR PIERRE AUGUSTE (1841 - 1919) & GUINO RICHARD (1890 - 1973) sculptuur in brons met donkergroene patine genummerd 7/8, getiteld : "La Petite Laveuse (accroupie)", in 1916/17 door Guino en Renoir (die blind was geworden) gerealiseerd in terracotta en later herwerkt in gips, in brons gegoten (copyright 1983) door Süsse fondeur - Paris in 1989 - hoogte en breedte : 27 en 23 cm getekend en voorzien van gieterijmerk ref. : Paul Haesaerts 'Renoir sculpteur' : tekst pg. 27 en plaat n° XXIX - in juli 1995 in Brugge geëxposeerd, alsook in Monaco, Cannes, Tokyo

◆ Jankel Adler (Polish 1895-1949) Mädchen mit Katze (Girl with Cat), 1942 signed (lower left)oil on canvasDimensions:81cm x 91cm (32in x 35 3/4in)Provenance:ProvenancePeter Watson, London (by 1948)Private collection, LondonLiteratureStanley William Hayter, Jankel Adler, Nicholson & Watson, London, 1948, p.viii, illustrated in black & white, pl.17, as 'Girl with Cat (1942) Private collection Peter Watson, Esq. London'Annemarie Heibel, Jankel Adler (1895-1949): Band II: Werkverzeichnis der Gemälde, Westfälische Wilhelms-Universität, Munster, 2016, no. WV 217, repr. p.301.Note: Born in Poland into an Orthodox Jewish family, Jankel Adler trained in engraving in Belgrade and the applied arts in Barmen (now Wuppertal) before enrolling at the Düsseldorf Akademie der Künste. Based in Düsseldorf between 1922 and 1933, he became steeped in progressive art circles, associating with Lyonel Feininger and Wassily Kandinsky amongst others, and teaching alongside Paul Klee at his alma mater. After the Nazi’s declaration that his work was ‘degenerate’, Adler moved to Paris in 1933, where he worked with Stanley William Hayter at the experimental Atelier 17 and met Pablo Picasso - a rite of passage for any artist with serious aspirations to belong to the avant-garde. Following the outbreak of World War Two, Adler joined the Polish army, with whom he was evacuated to Scotland in 1940. Demobilisation in 1941 was followed by a move to London in 1943. He thus personified the European avant-garde in Britain whilst becoming a central figure in the art worlds of Glasgow and then London. Solo exhibitions were held at T&R Annans & Sons in the former, and at the Redfern Gallery, Lefevre Gallery and at Gimpel Fils in the latter; he was to have a tremendous impact on British artists, in particular Robert Colquhoun and Robert MacBryde, who shared a studio with John Minton two floors beneath that of Adler in Kensington.Mädchen mit Katze (Girl with Cat) is thus a major example of continental Modernism, painted in Britain. It is one of his most sophisticated and poetic images: a contemplative seated woman in the right foreground holds an enigmatic object to her chest. A companion cat lying on a table to the left directly confronts the viewer, its startling eyes penetrating our souls, whilst the distinctly modernist sculptures to the rear – an homage perhaps to fellow émigré Naum Gabo – introduce a sense of time and place to this potentially timeless domestic scene. Adler’s post-Cubist approach to form is arguably seen to best effect in the sensitively rendered facial features of the female protagonist, although his technique across the canvas surface is as varied as the range of muted and bold tones and colours used to realise volume, perspective and mass.This work exemplifies Philip Vann’s declaration that ‘finding refuge in Britain in 1941, the forty-six-year-old Jankel Adler embarked afresh on a richly distinctive journey as an artist. The powerful, often stark monumentality characterising his earlier continental period gave way to vibrant new works of most subtle intricacy and compassionate poignancy. All that he had learned and absorbed from the great Modernists he had known in the 1920s and ‘30s – notably Klee, [Max] Ernst and Picasso – was now assimilated and integrated with apparently spontaneous ease into radically original, humane pictures.’ (quoted in Richard Cork, Jankel Adler: The British Years 1941-49, Goldmark Gallery, Uppingham, 2014, unpaginated).Such is Mädchen mit Katze’s significance within Adler’s oeuvre that it was selected for reproduction in Stanley William Hayter’s 1948 monograph on the artist, by which time it had been acquired by the legendary British art collector Peter Watson. He and Adler are believed to have met for the first time in Glasgow, with their mutual acquaintance Colquhoun reporting that Watson ‘believes Adler to be quite exceptional.’ (Undated letter from Colquhoun to Ian Fleming, quoted in Patrick Elliott et al, The Two Roberts: Robert Colquhoun & Robert MacBryde, National Galleries of Scotland, Edinburgh, 2014, p.29). The millionaire Watson was without doubt the eminence grise of the London contemporary art world during the 1940s, when many artists struggled to make ends meet: Watson funded the arts journal Horizon, which was launched in 1940; was a co-founder of the Institute of Contemporary Art in 1946; lived in a Wells Coates-designed flat in London surrounded by works including by Christopher Wood, Graham Sutherland, Henry Moore, Ben Nicholson, Pierre-Auguste Renoir, Joan Miró, Chaïm Soutine and John Tunnard; and counted Sutherland, Nicholson, Augustus John, Lucian Freud and John Craxton amongst his artist friends. Mädchen mit Katze thus joined one of the most remarkable collections of modern and contemporary art in Britain at the time.The related painting, Woman with a Cat (formerly known as Girl with Cat) of 1944, was presented by the Contemporary Art Society to Aberdeen Art Gallery in 1952 (ABDAG002283).

Signed and dated in the lower right corner "F. Amorsolo, Manila, 1959", oil on canvas, measurements: 30 x 39 cm, framed measurements: 38 x 48 cm. Fernando Amorsolo Cueto (San Fernando de Paco, May 30, 1892 – Quezon City, April 24, 1972) is considered one of the most remarkable painters the Philippines has ever had, known for his virtuosity and mastery of light and who He specialized mainly in portraiture and in the rural landscape of his country. His brother Pablo Amorsolo was also a painter. Between the years 1909 and 1914 he attended the Liceo de Manila Art School and the year of his graduation he won the school's first prize with a painting of a young couple in a garden. After graduating from this institution, he entered the School of Fine Arts at the University of the Philippines, where his uncle Fabián de la Rosa worked. Among his early influences back then were the Spanish painter Diego Velázquez, John Singer Sargent, Anders Zorn, Claude Monet, Pierre-Auguste Renoir, but much more contemporary Spanish painters such as Joaquín Sorolla and Ignacio Zuloaga. In 1916, with a scholarship from Fernando Zobel, he traveled to Spain to study at the San Fernando School of Fine Arts in Madrid. Origin: Madrid private collection.

Attributed to Tom Keating (1917-1984) oil on canvas board after Pierre-Auguste Renoir - The Swing, bearing signature 'Renoir 76', 61cm x 51cm, in gilt frameGood presentable condition, some slight insect marks on the white dress but these would be easily removed, otherwise good condition. The frame is modern.

AUGUSTE RENOIR Limoges 1841 - 1919 Cagnes bei Nizza: Femme nue assise. Vernis-mou mit zartem Plattenton um 1906. Delteil und Stella 12. - Auf chamoisfarbenem Bütten mit Wasserzeichen (Akt mit Tuch) und appliziertem, typographisch bezeichnetem Vorsatzblatt. 19 x 14,8 cm. Ränder schwach fleckig. Erschienen in Th. Duret, „Die Impressionisten“, Berlin, Bruno Cassirer, 1909. [ms]

AUGUSTE RENOIR Limoges 1841 - 1919 Cagnes bei Nizza: Femme nue assise. Vernis-mou mit zartem bräunlichen Plattenton um 1906. Delteil und Stella 12. - Auf leichtem chamoisfarbenen van Gelder Zonen-Bütten mit Wasserzeichen: Stehender Akt mit Tuch auf Globus (Fragment). 19,2 x 14,8 cm (Blatt: 25,8 x 19,8 cm). Leicht gebräunt. Mit Heftspuren am linken Rand. Erschienen in Théodore Durets Werk über die Impressionisten. [ms]

A large Auguste Renoir Print titled 'La Grenouillere'. 37 1/2" x 31 1/4".

GIORGIO DE CHIRICO (1888-1978)Vita silente signed 'G. de Chirico' (lower right); signed, inscribed and dated 'Opera eseguita nel 1931 a Parigi Giorgio de Chirico' and further signed 'Giorgio de Chirico' (on the reverse)oil on canvas38.3 x 55.5cm (15 1/16 x 21 7/8in).Painted in Paris in 1931Footnotes:ProvenanceGalleria d'Annunciata, Milan, no. 1908 (probably acquired directly from the artist in the 1940s).Private collection, Italy (acquired from the above in the 1950s).Galleria Bergamini, Milan.Galleria Gussoni, Milan.Anon. sale, Brera Galleria d'Arte, Rome, 16 December 1964, lot 241.Private collection, Rome (acquired at the above sale).Private collection, Rome (by descent from the above).LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. III, Opere dal 1931 al 1950, Milan, 1983, no. 180 (illustrated; incorrect dimensions).Vita silente presents assorted fruits; apples and lemons stand alongside a ripe tomato and a clementine, delicately arranged on a white cloth. The bed of ivory fabric accentuates the contrast of this chromatic range of warm colours, with a diffuse light that crosses the work, casting soft shadows. The work is a harmony of yellow, red and orange hues, enhanced by a complementary blue woven softly into the background and foreground through classically Impressionistic strokes.Painted in Paris in 1931, the present work stands testament to the renewed interest for the still life genre from twentieth century Italian painters and it remained an important subject for artists until well into the 1960s. Arguably Giorgio de Chirico and Giorgio Morandi were at the forefront of this revival and the style's most prolific protagonists in Italy, however, the subject was also widely explored by many fellow Italian artists such as Carlo Carrà, Gino Severini, and Renato Guttuso. Despite this modern revival of the subject, de Chirico sought to draw inspiration from the past more than from his contemporaries. When he settled in Rome in 1918-1919, he spent his time in museums, copying and studying the works of Old Masters. Thus when he returned to Paris in 1925, his technique was imbued with the influences of the Baroque and the Renaissance, which reveal themselves through his luxurious brushwork, dramatic stage settings and grandiosity in sumptuously elaborated paintings. Nevertheless, despite de Chirico's negative opinion of the Impressionist group, his pared down composition in the present work is brighter, and his technique tends more to their handling, particularly through the thin strokes of complementary colours etched into the background. His focus on volumes standing out on the white cloth also recalls one of the masters of still life and of the modern painting genre, Paul Cézanne. The most unequivocal reference here however, is to Pierre-Auguste Renoir. One of the few Impressionists de Chirico openly admired, he once wrote that: 'Renoir [was] the only French painter to hold his own without camphor oil injections or oxygen tents, [...] because his painting pleases and because he was a real painter.' (G. de Chirico, 'L'eterna questione', in L'Ambrosiano, Milan, March 1938). Following Renoir's example, de Chirico applied vibrant strokes of paint, using diagonals to his advantage while playing on the convolution of folds, and combining the broken lines of the cloth with the circular volumes of the fruit. Another of Renoir's greatest talents was his masterful use of coloured shadows, which de Chirico subtly implements here, with soft blue shadows tucked into the folds. As with his contemporary Giorgio Morandi, whose almost vocational pursuit of the still life sculpted some of the most renowned pieces of twentieth century Italian painting, for de Chirico, a still life was more than a simple exercise in style and technique, hence his peculiar choice of title: Vita silente rather than 'natura morta', the Italian translation of 'still life'. As much a painter as a theorist, he wrote extensively on the subject: 'In the German and English language 'natura morta' has another name that is far more beautiful and correct. Its name is Still leben and Still life: 'vita silenziosa' (silent life). It refers to a painting, in fact, which represents the silent life of objects and things, a calm life, without sound or movement, an existence that expresses itself by means of volume, form and plasticity.' (G. de Chirico, 'Le Nature morte', in L'Illustrazione Italiana, Milan, 24 May 1942). This form of inner life, hidden beyond reality, is the essence of what metaphysical painting was all about. Indeed, the term 'metaphysical' refers to the painter's perpetual search for the hidden meaning of objects. De Chirico's work was always guided by the idea that there was meaning hidden behind the surface of the objects represented. Thus, the subject of the silent life is not so far removed from de Chirico's imagined impossible landscapes, his juxtapositions of objects, and his oneiric scenes that seem to come directly from the subconscious and go beyond physical reality. As he explained in a 1919 text: 'every object has two appearances: one, the current one, which we nearly always see and which is seen by people in general; the other, a spectral or metaphysical appearance beheld only by some rare individuals in moments of clairvoyance and metaphysical abstraction, as in the case of certain bodies concealed by substances impenetrable by sunlight yet discernable, for instance, by X-ray or other powerful artificial means' (G. de Chirico, 'Sull'arte metafisica', in Valori Plastici, April-May 1919, p. 16).Despite the apparent simplicity of Vita silente, the composition illustrates de Chirico's mastery of both practice and theory. While referring to a traditional subject inherited from the Old Masters, later reinvented by Impressionists, he gave it new meaning while subtly showing that the genre also belonged to the metaphysical dimension. As J.M. Faerna writes: 'throughout his long career [de Chirico] spoke with different voices [and] he entered and left different spheres with freedom; but in some sense, the Metaphysical realm was the domain of all his paintings.' (J.M. Faerna, De Chirico, Barcelona, 1995, p. 14).Aside from its rich heritage among de Chirico's oeuvre, the present work comes from the family of the artist's notary, who compiled an eminent private collection of carefully curated Italian Novecento works, assembled during the twentieth century. Having since descended through the family to the present owners, Vite Silente has not been seen publicly since its acquisition in the 1960s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NICOLAS TARKHOFF (1871-1930)Trois tournesols stamped with the artist's signature 'N. Tarkhoff' (lower left)oil on paper 42.6 x 26.1cm (16 3/4 x 10 1/4in).Painted circa 1920-1925Footnotes:The authenticity of this work has been confirmed by Dr. Oscar Ghez. This work will be included in the forthcoming Nicolas Tarkhoff catalogue raisonné, currently being prepared by the Nicolas Tarkhoff Committee. We are grateful to Guy Abot, Director of the Nicolas Tarkhoff Committee, for his assistance cataloguing this work.ProvenanceDr. Oscar Ghez Collection, Geneva, no. 14368.Private collection, Geneva (acquired from the above in 1989).Private collection, Geneva (by descent from the above).ExhibitedGeneva, Musée du Petit Palais, 1980 - 2000.San Francisco, Harcourts Gallery, Nicolas Tarkhoff, A retrospective exhibition, September – November 1989, no. 25.Nicolas Tarkhoff moved to Paris in 1899 where he attended the École des Beaux-Arts, and soon after, started exhibiting his paintings at the Salon des Indépendants and the Salon d'Automne. His artwork was regarded as pioneering and extremely desirable, and Tarkhoff was granted solo exhibitions at Galerie Ambroise Vollard (where Cézanne, Gauguin, and Renoir had all exhibited) in 1906 and Galerie Drouet in 1909. As early as 1910, an extraordinary list of collectors had acquired his work, including Sergei Shchukin and Sergei Diaghilev. The artist kept ties with Moscow and participated in several exhibitions in Russia; his pictures were included in the Mir Iskusstva (World of Art) exhibitions of 1899, 1911 and 1913. He also exhibited seventeen paintings in Sergei Diaghilev's landmark exhibition of Russian art, Two Centuries of Russian Painting and Sculpture, in October 1906 at the Grand Palais in Paris.Tarkhoff's distinct style aligned him closely with the Fauves, a style indebted to Impressionistic canons as it often stressed varying qualities of light, visibly broad brushwork and an exploration of pure colour. He was continually influenced by Van Gogh and Post-Impressionism, as evidenced by his oft chosen themes of rural landscapes and floral still-life compositions. In particular, Tarkhoff held a fondness for sunflowers, utilising them as a constant vibrant environment through which to develop his Impressionistic style. In this, Tarkhoff was influenced by the writings of Edmond Duranty, who wrote in his 1876 article 'La Nouvelle Peinture': 'Painters must try to capture the motion... and render the shaking of the leaves, the glistening of the water and the vibration of the sun-soaked air...' (Duranty quoted in N. Tarkhoff, Impressions of a Russian Painter in Paris, Ahlen, 1999, pp. 65-66).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

PIERRE-AUGUSTE RENOIR (1841-1919) & RICHARD GUINO (1890-1973)Buste de Madame Renoir, also titled Buste de la maternité signed 'Renoir', signed with Richard Guino's monogram, stamped with the foundry mark 'C. Valsuani Cire Perdue' and numbered 'E A. 2/4' (on the reverse)bronze with black-brown patina21.6 cm (8 1/2 in.) highConceived in 1916, this bronze version cast by the C. Valsuani foundry in 1972 in a numbered edition of four épreuves d'artiste.Footnotes:The authenticity of this work was confirmed by the late Michel Guino.ProvenanceAnon. sale, Christie's, London, 7 December 1999, lot 162.Private collection, UK (acquired at the above sale).Exhibited(Possibly) Paris, Galerie du Bristol, Centenaire de l'Impressionnisme, 1973.LiteratureM. Boscolo, C. Occhipinti & J-P. Seurat, L'Impressionismo nella Scultura di Pierre-Auguste Renoir e Richard Guino, exh. cat., Busto Arsizio, 1997 (another cast illustrated p. 63).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

A Framed Renoir Print, The Swing, 51x67cms

Two Works: D. Hardy (British School, 19th Century) - Cottage Interior Scene with Mother and Child (1862), watercolour and bodycolour on paper, signed and dated lower right, 25 x 32 cm, mounted, framed and glazed; Together with After August Renoir - 'Woman with Her Cat' framed print, 60 x 48 cm (2)

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

Six various gentlemen's wristwatches comprising a Montine automatic example, the silvered dial set with baton numerals and calendar window, a Limit example, the silvered dial set with baton numerals and calendar window, a Smiths Empire example, Montine quartz example, a Yves Renoir example, with silvered baton numerals and calendar window, and a Woods of Windsor quartz example, also a ladies' quartz Golf watch, the oversized head with small dial set with Arabic numerals offset to 3 o'clock, with small encrusted shells around (7).Condition Report: All have scratches to the head and glass. The Limit example is missing its crown. The Montine automatic example and the Smiths Empire examples have been wound and appear to be in going order, however this is no guarantee of working order. The other quartz movement watches are not currently in going order.

Renoir, Reclining Nude Etching. Appears unsigned, has not been examined out of the frame. Sight Size: 5.25 x 7.5 in. Overall Framed Size: 23 x 25.5 in.Framed behind glass.

Louis Valtat, 1869 Dieppe – 1952 Paris LA FAMILLE SUR LA PLAGEÖl auf Leinwand, auf Holz aufgezogen.45,5 x 54 cm.Rechts unten signiert „L. Valtat“.In vergoldetem Rahmen.Mit expressiven Pinselstrichen und reinem Farbgebrauch stellt Louis Valtat um 1917 diese sommerliche Strandszene dar. 1860 in Dieppe geboren wurde er bereits im zarten Alter von 17 Mitglied der Ecole des Beaux Arts und studierte zusammen mit großartigen Malern wie Gustave Boulanger und Jules Lefebvre. Zahlreiche zeitgenössische Künstler beeinflussten ihn, wie Matisse, Vuillard, Bonnard, Signac und besonders Renoir, mit welchem ihn eine lebenslange Freundschaft verband. Heute sind seine begehrten Werke in berühmten Sammlungen der ganzen Welt zu sehen – etwa im Metropolitan Museum of Art (New York, im Thyssen-Bornemisza Museum (Madrid) und in der Hermitage (Sankt Petersburg).Anmerkung:Der Künstler wurde bereits im Alter von 17 Jahren Mitglied der École des Beaux-Arts und studierte zusammen mit Malern wie Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12). Zahlreiche zeitgenössische Künstler beeinflussten ihn, wie Henri Mattisse (1869-1954), Jean Édouard Vuillard (1868-1940), Pierre Bonnard (1867-1947) und besonders Pierre-Auguste Renoir (1841-1919), mit dem ihn eine lebenslange Freundschaft verband. Seine Werke sind in berühmten Sammlungen der ganzen Welt zu sehen, etwa im Metropolitan Museum of Art, New York und in der Eremitage in Sankt Petersburg.Literatur:J. Valtat, Louis Valtat, Catalogue de l‘oeuvre peint, 1977, S. 140. (12901432) (13)Louis Valtat,1869 Dieppe - 1952 ParisLA FAMILLE SUR LA PLAGEOil on canvas, laid on panel.45.5 x 54 cm.Signed “L. Valtat” lower right.In gilt frame.Literature:J. Valtat, Louis Valtat, Catalogue de l'oeuvre peint, 1977, p. 140.

Louis Valtat, 1869 Dieppe – 1952 ParisCOUPE DE FRUITS SUR UN ENTABLEMENTÖl auf Leinwand.24 x 33 cm.Rechts unten monogrammiert „LV“.In Prunkrahmen.Beigegeben eine Bestätigung der Association Louis Valtat mit der Nummer 4139 vom 05. Oktober 2019 mit der Unterschrift von Julien Valtat, dass das vorliegende Werk in den catalogue raisonné de l‘oeuvre de Louis Valtat aufgenommen werden soll, in Kopie. In einem angedeuteten Innenraum, auf einer weiß gedeckten Tischplatte stehend, eine grün-gelbe Schale, darin rot leuchtende Äpfel und gelbliche Zitronen. Malerei in raschem Pinselduktus, bei teils breitem Pinselstrich, in der für den Künstler typischen Manier. Anmerkung:Der Künstler wurde bereits im Alter von 17 Jahren Mitglied der École des Beaux-Arts und studierte zusammen mit Malern wie Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12). Zahlreiche zeitgenössische Künstler beeinflussten ihn, wie Henri Mattisse (1869-1954), Jean Édouard Vuillard (1868-1940), Pierre Bonnard (1867-1947) und besonders Pierre-Auguste Renoir (1841-1919), mit dem ihn eine lebenslange Freundschaft verband. Seine Werke sind in berühmten Sammlungen der ganzen Welt zu sehen, etwa im Metropolitan Museum of Art, New York und in der Eremitage in Sankt Petersburg. (13511210) (18)Louis Valtat,1869 Dieppe – 1952 ParisCOUPE DE FRUITS SUR UN ENTABLEMENTOil on canvas.24 x 33 cm.Monogrammed “LV” lower right.Accompanied by a confirmation from the Louis Valtat Association, number 4139, dated 5 October 2019, signed by Julien Valtat, stating that the present work should be included in the catalogue raisonné of Louis Valtat’s oeuvre, in copy.

Louis Valtat, 1869 Dieppe – 1952 Paris LES QUAIS ET LE PONT NEUF, UM 1929Öl auf Leinwand. Doubliert.38 x 55,5 cm.Rechts unten signiert „L. Valtat“.Malerischer Blick von der leicht verschatteten rechten Uferseite der Seine auf die über den Fluss führende alte Pont-Neuf vor der im Hintergrund liegenden Häuserkulisse von Paris unter hohem blauem Himmel. Häuser, Brücke und Ufer in meist beige-brauner Farbigkeit, der Fluss in zahlreichen blauen, beigen und orangen Farbtönen. Einen starken Kontrast dazu bildet der große grüne Baum am rechten Uferrand sowie weitere hinter der Brücke liegende Baumkronen und wenige Bäume am linken Uferrand. Malerei mit expressiven Pinselstrichen bei pastosem Farbauftrag im Stile der „Fauves“.Provenienz:Edgardo Acosta Gallery, Beverly Hills. Sotheby‘s, New York, 3. November 1978, Lot 529). Privatsammlung, Niederlande (erworben in der oben genannten Auktion). Sotheby‘s, New York, 6. November 1981, Lot 367. Sotheby's, London, 27. Februar 2019, Lot 154. Anmerkung:Der Künstler wurde bereits im Alter von 17 Jahren Mitglied der École des Beaux-Arts und studierte zusammen mit Malern wie Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12). Zahlreiche zeitgenössische Künstler beeinflussten ihn, wie Henri Mattisse (1869-1954), Jean Édouard Vuillard (1868-1940), Pierre Bonnard (1867-1947) und besonders Pierre-Auguste Renoir (1841-1919), mit dem ihn eine lebenslange Freundschaft verband. Seine Werke sind in berühmten Sammlungen der ganzen Welt zu sehen, etwa im Metropolitan Museum of Art, New York und in der Eremitage in Sankt Petersburg. (13220110) (18) (†)Louis Valtat,1869 Dieppe – 1952 ParisLES QUAIS ET LE PONT NEUF, CA. 1929Oil on canvas. Relined.38 x 55.5 cm.Signed “L. Valtat” lower right.Provenance:Edgardo Acosta Gallery, Beverly Hills.Sotheby's, New York, 3 November 1978, lot 529.Private collection, Netherlands (purchased at the above sale).Sotheby’s, New York, 6 November 1981, lot 367.Sotheby’s, London, 27 February 2019, lot 154.

Maurice Utrillo, 1883 Paris – 1955 DaxLE MOULIN DE LA GALETTE, UM 1921Öl auf Karton.27 x 49,5 cm.Rechts unten signiert „Maurice. Utrillo, V.“.In vergoldetem und profiliertem Holzrahmen.Beigegeben eine Expertise von Paul Pétridès, Paris, 23. Juni 1978, sowie von Georges Blache, 1978, in Kopie.Schon seit 1830 werden in der Moulin de la Galette jeden Sonntag Bälle veranstaltet, selbst wenn sie erst 1895 unter diesem Namen firmiert und offiziell ein Cabaret wird. Beide hier dargestellten Mühlen, die stark im Vordergrund befindliche und die weiter hinten über den Dächern ragende Mühle, gehörten der gleichen Familie namens Debray, deren Entwicklungsdrang wir kulturhistorisch hinsichtlich des Lebens auf dem Montmatre und der Malerei verdanken. Utrillo malte das Mühlenensemble mit seinem Cabaret von der Ecke Rue Lepic/ Rue Girardon aus. Die Mühle wurde sowohl von Van Gogh gemalt, wie auch als Innenansicht etwa von Toulouse-Lautrec, Renoir und Picasso. Hier wird sie von Utrillo in flächiger Farbgebung mit dezenter Figurenstaffage in der Zwischenkriegszeit wiedergegeben.Provenienz:Auktion Floralies, 1978, Lot 101.Literatur:Dieses Gemälde ist aufgeführt in: Paul Pétridès, L'Oeuvre complet de Maurice Utrillo, Bd. II, Paris 1962, Nr. 903, S. 322. (13515319) (13) (†)Maurice Utrillo,1883 Paris – 1955 DaxLE MOULIN DE LA GALETTE, CA. 1921Oil on card.27 x 49.5 cm.Signed “Maurice.Utrillo,V.” lower right.Accompanied by an expert's report by Paul Pétridès, Paris, 23 June 1978, and by Georges Blache, 1978, in copy.Utrillo painted this windmill ensemble with its famous Cabaret from the corner of the Rue Lepic/ Rue Girardon. The windmill was also painted by Van Gogh and as an interior by Toulouse-Lautrec, Renoir and Picasso. Here it is depicted during the Interwar period in flat colouration with subtle figural staffage.Provenance:Auction Floralies, 1978, lot 101.Literature:The painting is listed in: Paul Pétridès, L’Oeuvre complet de Maurice Utrillo, vol. II, Paris, 1962 no. 903, p. 322.

A GROUP OF METALWARE, comprising three pairs of brass candlesticks, a circular Middle Eastern brass tea tray, diameter 50cm, a smaller brass serving tray, diameter 29cm, a modern foliate metal wall plaque with a central mirror and a small framed print 'Le Moulin De la Galette' by Renoir

A Renoir print stamped mark to lower right , signed lower left 

Maurice Mann (1921-1997) 'Homage To Renoir', conte crayon / pastels on hardboard, 76cm x 68cm, framed. Label to reverso 'MAURICE MAN 'Homage to Renoir' (1985)'.

Signed with conjoined letters 'HE CROSS' bottom right, oil on board12 1/4 x 18 15/16 in. (31.1 x 48.1cm)Executed circa 1905.ProvenanceCollection of Ambroise Vollard, Paris (no. 350).Galerie Druet, Paris.Armand Hammer, New York, New York.Christie's, London, sale of July 2, 1974, lot 36. Acquired directly from the above sale.Private Collection.Façade Gallery, New York, New York.Acquired directly from the above in 1986.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Exhibited"The Armand Hammer Collection," Brooks Memorial Art Gallery, Memphis, Tennessee, October 2-December 30, 1969, no. 56."Hammer Galleries, 50th Anniversary Southern Exhibition," High Point Theater and Exhibition Center, High Point, North Carolina, July 23-August 20, 1978.The Mint Museum, Charlotte, North Carolina, August 27-September 17, 1978.Federal Reserve Bank of Richmond, Richmond, Virginia, September 26-October 15, 1978, no. 14 (as Leda and the Swan).NoteWe wish to thank Mr. Patrick Offenstadt for confirming the authenticity of the present work, which will be included as no. 315 (p. 347) in the upcoming Catalogue Raisonné of the Artist's work. The present lot will also be accompanied by a copy of the original Letter of Authenticity by André Schoeller, dated May 13, 1986.The Impressionist movement was born in rebellion against the official Academic movement, which championed religious and mythological art. Instead, the Impressionists chose to depict everyday life, and to focus on the ephemerality of light and its effects on colors and shapes. As such, mythology and Impressionism are not notions that necessarily pair well with eachother. The Impressionists almost never depicted episodes derived from ancient mythology, which they considered as an attribute of their academic rivals; a resolutely anti-modern theme. However, such a trend gradually disappeared at the turn of the 20th century, firstly through masters of the early Impressionist movement, Pierre-Auguste Renoir and Berthe Morisot (two lovers of 18th century Rococo art), later continuing with the Post Neo-ImpressionistsPaul SignacandHenri-Edmond Cross, whose present painting, inspired by the myth of Leda and the Swan, embodies a shift in the precepts of the Impressionist movement.Executed in 1905, the oil depicts the beautifully naked Leda languishing on a boat which a white swancasuallyapproaches. The bird is in fact Zeus, who transformed his physical appearance to casually seduce the princess. Without knowing the painting’s title, it is difficult to identify the scene, as it is strippedfromany explicit mythological reference, and set in modern times. The swan itself does not seem very engaging with Leda: its back is turned to the viewer, about to veer off. Cross in fact uses the pretext of the myth to push through the inherent limits associated with Impressionism. He invents a new world where the fantastic mixes with the naturalistic, in which Leda and Zeus morph into an anonymous nude and a passing animal, both bathed in a warm and refracted light, characteristic of Cross's divisionist style from 1900 onwards.The work is a vibrant example of Cross’ pointillist technique and luminous artistry, and beautifully illustrates the artist’s ongoing exploration of light and color. The contrasting, yet harmonious hues are spread across the board in small ellipses of paint. The dappling shadows of the trees on the other bend of the river balance the shimmering haze of greens, turquoise and pinks in the foreground. The scene channels the warm light and peaceful atmosphere of the South of France, where the artist and his wife moved at the turn of the century in search of new inspiration. It also reflects the artist’s new pictorial ideals at the time, as such bright and pure touches of color were not necessarily observed first-hand by Cross. Here, the artist departs from a strictly naturalistic observation of nature and focuses on the harmony of light and color instead, to capture its total intensity. As Isabelle Compin, Cross’ biographer, explains: “Cross, now believing that the effects of light could not be rendered with accuracy in painting, chose instead to suggest light’s intensity and to emphasize its ability to harmonize or unify differing compositional elements.”Mythology allowed Cross to explore such chromatic explorations without being constricted by a realistic subject. It also provided the artist with an elegant, refined and graceful iconography, which integrated itself perfectly within his colorful world. It came naturally to Cross, who confessed in 1905 to his friend Théo van Rysselberghe: "...On the rocks, on the sand of the beaches, nymphs and naiads appear to me, a whole world born of beautiful light.” He was also not the only one to channel such mythological references. Around that time, Paul Signac himself worked on integrating harmony into his compositions, and often used arcadian subjects, such as nymphs or goddesses, to that effect (see In the Time of Harmony). In doing so, Cross and Signac suggested a cohesion between man and nature, and rekindled the idea of a new Eden, hermetic to industrialization and the modern world - a measured idealism which, at the sight of the present oil, forces us to pause in our ever so active and hectic life to contemplate beauty around us.Once in the collection of famousart dealerAmbroise Vollard, this mosaic jewel is making its first reappearance on the market for more than thirty years. To receive additional images or for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 22 x 28 x 3 1/2 in.

Stamped with artists' cypher and signed 'Renoir' on the rim, to the right; also copyrighted, dated (twice), signed, and inscribed '© 1983 GVINO-RENOIR 1915 1917 E.A. 4/4' on the rim at bottom; and with 'Susse Fondeur Paris 1983' foundry stamp incised on the rim, at top, bronze with dark brown patinaDiameter: 19 1/2 in. (49.5cm)Depth: 1 3/4 in. (4.4cm)ProvenanceCollection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland. To receive additional images or for any other information, please email Raphaël Chatroux at rchatroux@freemansauction.com

A mixed collection of artwork including continental landscapes, Douglas Falconer Lockshield oil on board, signed in gilt swept frame, after Renoir print portrait (12).

After Pierre-Auguste Renoir (French, 1841-1918):  'Le Chapeau Epingle' etching, 13.5 by 10cm, mounted but unframed, 50 by 32.5cm.

Pierre-Auguste Renoir (1841-1919)Berthe MorisotEtching, on laid paper, with full margins, sheet 328 x 256mm (12 7/8 x 10 1/8in)

Incisione su carta in cornice. Firmata Renoir. Cm 18x11Engraving on paper in frame. Signed Renoir. 18x11 cm

Acquaforte su carta in cornice in legno dorato. Firmata Pierre Auguste Renoir. Cm 12x8,7Etching on paper in a giltwood frame. Signed Pierre Auguste Renoir. 12x8.7cm

Acquaforte. Firmata Renoir. Cm 13x19Etching. Signed Renoir. 13x19 cm

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

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

RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist painter. A.L.S., Renoir, one page, 8vo, Cagnes, 12th January 1910, to Mademoiselle Paule Gobillard, in French. Renoir writes, in part, 'Veuillez etre mon interprete aupres de votre soeur et de Julie [Manet] pour leur exprimer tous mes voeux de bonne sante. D'apres bien des lettres la sante de votre soeur me parait meilleure et j'espere que la jeunesse par la force finira par l'emporter sur la cruelle maladie. Moi je suis simplement heureux de voir que les jours vont grandir. Je n'ai pas ete malade mais pas tres entrain' (Translation: 'Please be my interpreter for your sister and Julie [Manet] to express to them all my wishes for good health. According to many letters, your sister's health seems better to me, and I hope that youth by force will end by prevailing over the cruel disease. I am simply happy to see that the days are going to grow. I was not sick but not very spirited'). With blank integral leaf. Accompanied by the original envelope hand addressed by Renoir. A charming letter from mentor to protégé. VG Paule Gobillard (1867-1946) French artist and Post-Impressionist painter who was heavily influenced by the Impressionists. Gobillard and her sister Jeannine (who married the poet Paul Valery) were the nieces of Berthe Morisot and cousin of Julie Manet. Renoir frequently implored the Gobillard sisters to model for him, and also offered them tuition.  Julie Manet (1878-1966) French painter, model and art collector who was orphaned at the age of 16 and received support from Renoir. 

Drei GRAFIKEN MODERNE KUNST, Henri Matisse, aus "Pierre a feu", 1947, Auguste Renoir "Le chapeau épinglé", Radierung, 11,5 x 8, Pierre Bonnard, "Le Parc Monceau", Original-Radierung, 33 x 25, 1937, jeweils ungerahmt

Attributed to WidgeryA moorland sceneWatercolourTogether with a collection of paintings and prints including bookplates after Renoir and Picasso

Three boxed vintage perfume sets comprising: Renoir, 17 Place Vendome, Paris - Three miniature moulded bottles with gilt embellishment , 'Grande Epoque', 'Futur' and 'Messager' in original lithographed box, J. Grossmith & Son- 'Lily of the Valley' and 'White Lilac' in original fitted box and third box containing bottles labelled 'White Rose' and 'Parma Violet'.

Books - mainly Art theamed, Renoir, Post Impressionism, Lowry, Van Gough, etc. Panini 87 sticker album sparsely filled, 1954-55 Ashes Test album, Earlswood Festival of Jazz 1962, etc:- One Box.

limited edition giclee print on canvas, signed and numbered 43/150framedimage size 78cm x 71cm, overall size 91cm x 93cmNote: In 1986, John Myatt placed a classified advert in the satirical British current affairs magazine Private Eye. ‘19th and 20th-century fakes for £200’ stated the ad, heralding the birth of what was initially a legitimate business. Producing paintings to order, John painted his way through 20th century art history, commissioned by a man known as ‘Professor John Drewe’. His materials were unorthodox, including household emulsion mixed with K-Y Jelly, yet the quality of his work led Christie’s to value one of his paintings at £25,000. This was the moment that the business stopped and the crime began. Between 1986 and 1994, John faked as many as 200 works by artists like Marc Chagall and Alberto Giacometti, fooling collectors and experts at Christie's, Sotheby's and the Tate Modern alike. Many of these counterfeit works found their way into private collections and public institutions in the United Kingdom and abroad. Eventually the scheme was exposed by Scotland Yard, and Myatt was sentenced to a year in HM Prison Brixton for his role in this now-legendary art fraud. Upon his release from prison, John was persuaded to pick up his brush again by the detective who arrested him. In recent years, he has emulated the style of legendary artists like Henri Matisse, Pierre-Auguste Renoir, Paul Klee, Leonardo da Vinci and Vincent van Gogh. Comparing himself to an actor immersing himself in a role, he says he climbs into the mind of his chosen artist to adopt, rather than copy, their technique. In a 2005 interview with the Guardian newspaper, John explained: “I try to get the artist’s work to hypnotise me. I also surround myself with lots of books. I like to know everything…where he was, what he was doing…when he was painting.” Alongside television appearances on shows such as A Brush with Fame, Fame in the Frame, Fake! The Great Masterpiece Challenge and Fake or Fortune, John has worked with Oxford University, Cambridge University and the San Diego Museum of Art, and now advises the police on art fraud. A feature-length film about his incredible story is due to be released soon, while his wife Rosemary has also written a book - Genuine Fakes - based on the script.

After Renoir, The Piazza San Marco, Venice, 59x74cm

Aristide Maillol (French, 1861 - 1944) Young Seated Woman, 'Renoir's Bather', c. 1906 Plaster Dimensions: 10 in. (24 cm) (H) This model is known as "Baigneuse Renoir", because the painter Pierre-Auguste Renoir had an example in his collection. This statuette appears in several paintings by Renoir. In 1906 Maillol modelled a portrait of Renoir (previously dated to 1907, however, it was referred to in a letter of 1906, written by Renoir). It is possible that Maillol made 'Jeune Fille assise' at the same time. Previously, this sculpture was thought to have been one of the models sold by Maillol to Vollard, however, no record of it can be found in the Vollard papers, nor has any bronze example appeared to date with a Vollard provenance, even though there exist two photographs of the figure in the Fonds Vollard, RMN. Models edited in bronze by the sculptor himself, prior to 1914, such as this one, were cast in limited numbers. To date, only three are known of this model. The detail of this plaster is comparable to that found on the bronze versions It is not possible to ascertain exactly for which reason this plaster was cast. The varnish and the mould lines on the surface seem to indicate that it was used for bronze casting. However, as the incised lines are rather delicate, it is unlikely that this plaster was used repeatedly. A certificate of authenticity is available with this lot upon request.

PIERRE AUGUSTE RENOIR (1841-1919) LE CHASEAU - EPINGLE ETCHING & DRYPOINT ON LAID PAPER CIRCA 1894, SIGNED IN THE PLATE - 11.5 X 7.5 CMS APPROX

A BOX AND LOOSE PAINTINGS AND PRINTS ETC, to include an Ernest F. Hill (active 1897-1940 ) Cornish coastal landscape 'Gull Rock, Trebarwith' approximate size 16cm x 23cm, M. Trench pastel portrait of a young man dated 1986, watercolour depicting a cottage signed Wilmoth, a continental oil on canvas depicting a study of a building signed A. Galindo, Vanity Fair prints by Theobald T Chartran and Spy, etching of 'Derwent Water, Friars Crag', embellished print on canvas after Renoir 'Girl With Flowers' etc (1 box + loose)

Pierre-Auguste Renoir (1841-1919)La Fleuve Scamandre (1ère planche) (Delteil 24)Etching, circa 1900, with the stamped signature, from the edition of 1000 for the unpublished edition of Ambrose Vollard's Tableaux, pastels et dessins de Pierre-Auguste Renoir, on Japan paper, with full margins, sheet 321 x 248mm (12 1/2 x 9 3/4in)

Mallarmé (Stéphane) Pages, unnumbered copy from an edition limited to 325, signed by the author on limitation leaf, but with accompanying presentation inscription mostly erased, half-title, lacking etched frontispiece by Renoir, occasional light spotting or soiling, front free endpaper and lower wrapper with inscription in biro, original printed wrappers, upper wrapper detached and lower working loose, spine broken and lacking majority of backstrip, covers soiled, Brussels, 1891 § Estang (Luc) Le poème de la mer, one of 465 copies on vélin, from an edition limited to 500, signed presentation inscription from the author to W.J. Strachan on half-title, 14 full-page illustrations by Olive Tamari, light foxing to endpapers, hinges broken, original printed wrappers, light spotting, toned at extremities, a few chips to spine, Paris, 1950; and 3 others, French art and literature, v.s. (5)

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

A pair of silver Cini vintage clip earrings, a pair of green stone and white metal earrings and a pair of 'Renoir' enamel earrings

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

A collection of vintage & later brutalist / modernist jewellery. The arts & crafts jewellery pieces to include; a stone set & pierced detail cuff bangle, two tone metal cabochon ring, rectangular clip on earrings (marked Renoir), hematite cabochon tassel drop earrings, circular dip effect clip ons, orange stone set brooch pin & a prill abstract design pendant on collar necklace. Most in brass tones. Total weight approx Necklace measures approx 44cm. Bangle measures approx 5.8 x 5cm. Approx ring size L.

After Renoir, P Quinn, oil on board, nude in armchair, 48cm x 58cm, framed.

Harold Hope Read, pen and ink drawing, ' Waiting for Renoir ', 21cms x 19cms, in a modern ebonised and gilt frame

A quantity of pictures and prints - some after Renoir

A crate of art related books including Renoir, Dictionary of Painters, David Hockney etc.