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Four framed Prints to include 'On the Terrace' after Renoir, 'Poppy fields' after Monet, etc.

Renoir, Auguste - - Duret, Theodore. Die Impressionisten. Pissaro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. 2. Auflage. Mit 2 Original-Radierungen von Renoir und 1 Original-Holzschnitt nach Cézanne sowie zahlreichen Tafeln und Abbildungen. Berlin, Bruno Cassirer, 1914. 3 Bl., 159 S. 23,5 x 18 cm. Illustrierter Original-Halbpergamentband mit goldgeprägtem Rückentitel und illustriertem Deckel (Deckel leicht fleckig).Zweite deutsche Ausgabe der wichtigen Monographie. - Fromm 8376 - vgl. Lang S. 11 und Mahé I, 810. - Mit den beiden Renoir-Radierungen "Zwei Mädchen" und "Kinderbild" (Delteil 6 und 22) sowie dem Holzschnitt von Beltrand nach Cézanne. - Titel in Rot und Schwarz. - Die Graphiken auf chamoisfarbenem Bütten. - Sehr gutes Exemplar.

Renoir, Pierre-August. Le Chapeau épinglé. Original-Radierung auf chamoisfarbenem gerippten Papier. Links unten in der Platte signiert. Um 1894. Plattengröße: 11,5 x 7,8 cm. Blattgröße: 33 x 25,5 cm.Delteil 8. - Unter Passepartout gesteckt, im Passepartout-Ausschnitt gebräunt, sonst sehr gut erhalten.

FERNANDO AMORSOLO (Philippines, 1892 - 1972)."Philippine landscape with huts".Watercolour on paper.There is wear on the paper and small perforations in the lower left corner.Provenance: John Glaine, Attaché to the British Embassy in Manila.Garchitorena family, received as a gift in 1952.Private collection in Madrid.Signed in the lower right corner.Measurements: 20 x 31,5 cm; 42 x 52 cm (frame).One of the most important painters in the history of Philippine art, Amorsolo focused his art on reflecting the Philippine landscape, its people and customs. In this work the artist depicts the rural landscape of what might be a native village. However, there is no human presence of any kind. The palette is remarkable, with warm colours, worked with a soft, loose and vibrant brushstroke.One of the most important painters in the history of Philippine art, Amorsolo focused his art on depicting the Philippine landscape, its people and customs. He was also a brilliant portraitist of the female figure. Particularly known for his great technique and masterful use of light, this painter began his training at the age of thirteen under the guidance of his uncle, the painter Fabián de la Rosa. His uncle was to become his guide and protector throughout his career. In his youth, Amorsolo earned his living by selling watercolour postcards, until 1908, when he achieved his first success, second prize in the International Association of Artists' competition with his painting "Reading the Newspaper". The following year he entered the Manila Lyceum to train as an artist. During his time as a student at the Lyceum he was awarded various prizes and honours, and after graduating he entered the School of Fine Arts at the University of the Philippines, where his uncle De la Rosa was working at the time. During this period at university Amorsolo was influenced by Velázquez, John Singer Sargent, Anders Zorn, Claude Monet and Renoir, although the most important influence was that of the contemporary Spanish masters Joaquín Sorolla and Ignacio Zuloaga. During these years, the young painter took part in various competitions, both inside and outside the university, and also began his career as an illustrator, working for various Philippine publications. He also illustrated Severino Reyes' first novel in Tagalog, "Parusa ng Diyos". In 1914 Amorsolo graduated with honours from the University of the Philippines, and soon began working as a draftsman for the Bureau of Public Works. He later became art director of the Pacific Trading Company, and taught part-time at the University of the Philippines, where he taught for thirty-eight years. Three years after finishing his studies in his native country, Amorsolo moved to Spain to study at the Academia de Bellas Artes de San Fernando in Madrid, thanks to a scholarship from the businessman Enrique Zobel de Ayala. He spent seven months in Spain, where he devoted himself mainly to sketching in the museums and streets of Madrid, experimenting with light and colour. Zobel's grant also enabled him to visit New York, where the young painter discovered post-war Cubism and Impressionism, movements that were to exert a key influence on his work. On his return, Amorsolo opened his own studio in Manila, and by the 1930s his work had been exhibited all over the Philippines and abroad, making the young master the country's leading painter. He was also much sought after by American officers stationed in the Philippines, and indeed his popularity meant that his works were also disseminated through photographs and reproductions. In 1938 he was appointed director of the School of Fine Arts at the University of the Philippines, a post he held until 1952. An enormously prolific painter, from the 1950s until his death in 1972, Amorsolo produced an average of ten paintings a month. Four days after his death, he was decorated with the Order of the National Artists of the Philippines, the first person to receive this honour. Works by Fernando Amorsolo are now held in the National Museum and the Ayala Museum in Manila, among other public and private collections.

Pierre-Auguste Renoir (French, 1841-1919) 'Claude Renoir, Tourné à Gauche' (Delteil 40; Stella 40)lithographsigned in the plate, 1904, from the edition of 1000, on wove paper, with full margins, Redfern Gallery label verso,31 x 25 cm

Renoir Landscapes 1865 1883 2007 First Edition Softback Book / Catalogue with 296 pages published by Kate Bell / The National Gallery London some ageing 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

Renoir 1985 Exhibition Catalogue / Softback Book First Edition with 324 pages published by The Arts Council of Great Britain some ageing 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

Renoir, Pierre-Auguste (Limoges 1841 - 1919 Cagnes/Nizza, Studium bei Charles Gleyre und Gustave Courbet, französischer Maler und Grafiker), "Le chapeau épinglé - Der Stecknadelhut", Radierung auf Papier (George Riviere Paris Auflage (1921)), signiert in der Platte unten links Renoir, 12 x 8.5 cm (Plattenmaß), 37.0 x 30.5 cm, unter Glas gerahmt

Very important painting by the painter, a close friend of Renoir, where we observe all the Cuban castes in the middle of a joyful party and dance scene inside a tavern in Havana. Oil on canvas. Canvas measures: 72 x 58 cm. Provenance: private collection, Barcelona. Reference bibliography: Adelaida de Juan, Pictorial images of Cuba in the 19th century”, pp. 41-43;

§ Hugo Grenville (1958-) September Afternoon, Bellegarde-des-Razessigned 'Grenville' (lower left)oil on board39 x 49cmExhibited:London, David Messum Fine Art, Summer Exhibition 2001, cat. no.28Widely regarded as one of Britain’s leading colourists, Hugo Grenville has, over the past thirty years, established an international reputation, having exhibited his works alongside Cezanne, Degas and Renoir, and having held in excess of 20 solo exhibitions across New York, London, Palm Beach and Hong Kong.Although Grenville first exhibited at the Chelsea Arts Society when he was just 15 years old, it would be another 14 years before he would take up painting as his career. After leaving school and briefly travelling around India, Grenville joined the Coldstream Guards, where he served as an officer in Northern Ireland, Zimbabwe and West Africa, before returning to the UK to perform his duties as an aide-de-camp, whilst simultaneously taking part-time art lessons at Heatherley’s and Chelsea School of Art. Following his military service, Grenville spent several years working as an art dealer, before finally committing himself to his own painting practice when he turned 30.Describing his works as ‘an unashamed and joyous celebration of life’, Grenville’s vivacious and lyrical works aim to stand in stark contrast with a society where, according to the artist, ‘satire and cynicism predominate’.Overall good condition - there appears to be a fault on the board which goes from top to bottom towards the right of the painting.

Pierre-Auguste Renoir ( 1841-1919) Baigneuse debout a mi-jambes, 1906etching20.5 x 14cm

AFTER RENOIR, A RESTAURANT SCENE BESIDE THE SEINE, OIL ON CANVAS

A 9ct gold Pierre Renoir watch with leather strap. Silvered dial with baton numerals. The reverse has been engraved.

Pierre-Auguste Renoir (French, 1841-1919) 'Claude Renoir, Tourné à Gauche' (Delteil 40; Stella 40)lithographsigned in the plate, 1904, from the edition of 1000, on wove paper, with full margins, Redfern Gallery label verso,31 x 25 cm

Pierre-Auguste Renoir (1841-1919)"Rivière, bateaux à terre derrière une barrière"Oil on canvasSignedProvenance:Heirs of Pierre-Auguste Renoir, Cagnes-sur-MerGallery Barbazanges, Paris, acquired from the former (1922-1927)Gallery Motte, Geneva (before 1971)Private collection, Switzerland acquired from the former (1971)Gallery Koller, Geneva, December 6th, 1993, nr. 1176consigned to Sotheby's London by the former, November 28th, 1995, nr.167Gallery Tornabuoni, Crans Montana, SwitzerlandPrivate collection, acquired from the former (2000)Literature:Renoir's Atelier, L'Atelier de Renoir (André, Berheim-Jeune, Elder), 1989 no. 165Renoir Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol III (G.P. Dauberville, M. Dauberville, Fremontier-Murphy), 2010, no. 1873BExceptional example of the artist's luminous Impressionist paletteAccompanied by certificate issued by the Wildenstein Plattner Institute, Inc., dated September 17th, 2019The work will be included in the coming Pierre-Auguste Renoir Digital Catalogue Raisonné that is being prepared under the institute's patronage27,5x16,6 cm

Pierre-Auguste Renoir (1841-1919)Louis Valtat, from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 38, Stella 38)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, 1919, on wove paper, with full margins, sheet 326 x 250mm (12 3/4 x 9 ¾ in)

Pierre-Auguste Renoir (1841-1919)Claude Renoir, La Tête Baissée, from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 39, Stella 39)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 250mm (13x 9 ¾ in)

Pierre-Auguste Renoir (1841-1919)Étude de femme nue, assise , from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 42, Stella 42)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 250mm (13x 9 ¾ in)

Pierre-Auguste Renoir (1841-1919)Femme au Cap de Vigne, from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 44, Stella 44)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 250mm (13x 9 ¾ in)

Pierre-Auguste Renoir (1841-1919)Femme au Cap de Vigne, Variante, from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 45, Stella 45)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 254mm (13x 10in)

Pierre-Auguste Renoir (1841-1919)Femme au Cap de Vigne, 3eme Variante , from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 47, Stella 47)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 252mm (13x 9 7/8in)

Pierre-Auguste Renoir (1841-1919)Femme Au Cap de Vigne, 4e Variante, from L'Album des Douze Lithographies Originales de Pierre-Auguste Renoir (Delteil 46, Stella 46)Lithograph, 1904, from the edition of 1000, printed by Auguste Clot, Paris, published by Ambroise Vollard, Paris, on wove paper, with full margins, sheet 330 x 250mm (13x 9 3/4in)

PIERRE AUGUSTE RENOIR (FRENCH 1841-1919)Bathers,print16 x 23.5 cm (6 1/4 x 9 1/4 in.)framed dimensions 32 x 43 cm (12 5/8 x 16 7/8 in.)signed lower left

A small quantity of limited edition Halcyon Days enamel Boxes, to include 'Two Sisters on the Terrace' after Renoir (132/750), 'Flowers in a Copper Vase' after Van Gogh HDCC Edition No. 3, 'David' after Michaelangelo (66/150) and 'Palace du theatre Francais' after Pisarro (60/250), 'Halcyon Days Rose' after Gordon (63/200) all boxed (5)

Renoir, Auguste: (1841 Limoges - Cagnes b. Nizza 1919) zugeschrieben. Skizzenblatt mit 2 Kopfstudien. Tuschzeichnungen auf Papier. Blgr. (Passep.-Ausschnitt) ca. 15 x 21 cm. Mit hs. Zuschreib. mit Bleistift oben rechts "Schizzo autofrafo di Renoir". Unter Passep. u. Glas gerahmt. Zeigt den Kopf einer jungen Frau und die Büste eines Mannes mit Schnauzbart u. Hut, jeweils im Profil nach links. - Tls. nur schwach sichtbar. - Blatt stockfleckig u. etw. knittrig. D

MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... 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

PIERRE-AUGUSTE RENOIR (1841-1919)Trois roses signed 'Renoir' (lower right)oil on canvas17.7 x 18.9cm (6 15/16 x 7 7/16in).Painted circa 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie de l'Elysée, Paris.J. Weill Collection, Zurich.Galerie Römer, Zurich.Private collection, Southern Germany.Acquired from the above by the previous owner; their sale, Bonhams, London, 1 March 2018, lot 65.Private collection, Ireland (acquired at the above sale).LiteratureG-P. & M. Dauberville, Renoir, catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919, Paris, 2014, no. 4041 (illustrated p. 238).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

-- Von Atlantis bis Wedekind - aus der Bibliothek von Tilla Durieux-- Durieux, Tilla. Konvolut von ca. 100 Bänden aus ihrer Bibliothek, überwiegend mit Exlibris oder eigenhändiger Signatur der Schauspielerin. 8vo. Originaleinbände (teils mit stärkeren Gebrauchsspuren). 1890er - 1940er Jahre.Umfangreiche Sammlung aus dem Bestand der Bibliothek von Tilla Durieux (1880-1971), der über Jahrzehnte bewunderten, hochgeachteten und zeitlebens auch politisch engagierten Schauspielerin, die in zwei Memoirenbänden ihre stürmische und wechselhafte Biographie beschrieb. Von 1910 bis 1926 war sie mit dem Verleger und Galeristen Paul Cassirer verheiratet. Enthalten sind literarische Werke aller Gattungen und Genres (Lyrik, Belletristik, Dramatik, Biographien und Monographien), Kunstliteratur und einige periphere Titel aus anderen Gebieten. Enthält u. a.: Morgenstern (Alle Galgenlieder, Einkehr), Lichnowsky, Dehmel, Korolenko, Avenarius (Hausbuch deutscher Lyrik), Döblin, Zweig (Verwirrung der Gefühle, 1927), Fontane, Schneider (Don Francisco de Goya), Puchtinger (Goethe in Karlsbad), Kipling, Carossa (Gedichte, 1910), George (Hymnen), Wedekind (Erdgeist, In allen Sätteln gerecht, Totentanz), Vollard (Auguste Renoir), M. Claudius, von Mechow, Kyber, Klabund (Weib und Weibchen, 1924), Blei (Die göttliche Garbo), Mulford, Carl Hauptmann, E. Waldmann (August Gaul), Kellermann (Ein Spaziergang in Japan), Verlaine (Lebensdokumente), Der Lindnebaum - Deutsche Volkslieder, Gerhart Hauptmann, Th. Heywood, Schönlank (In diesen Nächten, Ein dunkler Ring), Tennyson (Poems), Schmidtbonn (Der Graf von Gleichen), Schillers Übersetzungen, Kästner (Ein Mann gibt Auskunft, 1930), Goethe (Italienische Reise), Granach (Da geht ein Mensch), Schiller (Kabale und Liebe), Lothar (Henrik Ibsen), Kokoschka (Vier Dramen, 1919), Peladan (Der Prinz von Byzanz, 1912), Insel-Bücherei (6 Bände), Freytag (Die Journalisten, 1897), Heilborn (Liebesspiele der Tiere, 1930), Schaubuch berühmter deutscher Zeitgenossen in Werken bildender Kunst, 1925), Französische Kunst des XIX. und XX. Jahrhunderts (Kunsthaus Zürich 1917), Sil-Vara (Die Frau von 40 Jahren, 1913), Deutsche Chansons, Manninen, Schweitzer (Zwischen Wasser und Urwald, 1927), Atlantis, Edda und Bibel, Trostbüchlein, geschrieben von H. Jost, Hartleben (Rosenmontag, 1900), Gregor (Shakespeare, 1935), G. Keller, Maeterlinck, Hamsun (Spiel des Lebens), Björnson, C. F. Meyer, Sudermann (Morituri, 1897), Deutsch-schweizerische Lyrik der neuern Zeit, Zech (R. M. Rilke, 1930), M. Mayr (Das Wienerische, 1924), Waggerl, Hoffmann von Fallersleben (Mein Leben), Beaumarchais - J. Kainz (Der tolle Tag oder Figaros Hochzeit, 1906), E. Henle (Was soll ich deklamieren? Neue Folge), Der Rosengarten der deutschen Liebeslieder, Hearn (Japan, Ein Deutungsversuch, 1912), H. Kraus (Zwischen Wurzeln und Wipfeln, 1937), Whitman, Dörfler, Unser chatzkästlein (1940), Von Rosen - Alte deutsche Volkslieder, Kierkegaard (Die Krisis und eine Krisis im Leben einer Schauspielerin, 1922), Faber (Ewige Liebe, 1897 - selten), Des Knaben Wunderhorn, Frieda Schanz (Filigran, 1898), Die Spielpläne Max Reinhards 1905-1930 (mit mehreren Zeitungsausschnitten), Ramler (Mythologie, 1821), Kriegslieder des XV. Korps 1914-1915 (zweifach). - Fünf als Manuskript für die Bühne gedruckte Stücke (Sterndale Bennett. Man soll nicht sterben. Komödie. Ohne Jahr. - Ilse Langner. Katharian henschke. Schauspiel. 1930. - Paul Willems. "Bärenhäuter". Stück. Ohne Jahr. - Ferdinand Bruckner. Elisabeth von England. Schauspiel. 1930. - André Gide. Saul. Drama. Ohne Jahr). - Teils mit stärkeren Gebrauchsspuren, Markierungen und Anstreichungen. Zur Provenienz vgl. den Artikel / For the provenance please confer the article: "The Destiny of the Tilla Durieux Collection" by Antonija Mlikota, in: Studi di Memofonte 22/2019, pp. 64-77.The artworks of the Durieux Collection were recorded in the Register of Cultural Property (Ministry of Culture and Media of the Republic of Croatia), but there is no search result, so the works are not recorded ( = Rezultati pretraživanja = 0). In the above-mentioned article by Antonija Mlikota (2019), reference is also made to the book collection, which was then subject to the amicable division ("Official settlement between Tilla and Zlata's heirs was reached on February 10th, 1977 ... 17 February 1982 permit for the export of theTilla Durieux Collection" p. 70) of the inheritance of the Zlata Lubienski-Durieux collection between Croatia and Germany. 60% of the inheritance was awarded to Germany, or rather to Tilla Durieux's heiress Erika Dannhoff (out of 3000 books, this would be 1800), 40% remained in Croatia. The planned memorial foundation for Tilla Durieux did not come about, so that most of the objects were then sold by the heirs or ended up on the market ("However, the memorial in Germany to Tilla Durieux was never established and most of the collection was sold" p. 71). The scarcely 100 titles of books offered here were therefore certainly already in Germany.

Approximately Thirty Six unframed Art Poster Prints including Vettriano, Marilyn Monroe, Tolouse-Lautrec, Monet, Degas, Renoir, etc, largest 60cm x 80cm

Victorian monochrome print, Raphael and the Fornarina, sold along with a monochrome coastal scene print, Spithead print after Millar, and four Art folios Renoir , Manet, Metropolitan Seminars in art

Pierre-Auguste Renoir (French, 1841-1919). Lithograph on laid paper titled Le Chapeau Epinglé (2eme planche) (Pinning the Hat) (Delteil 30; Stella 30), depicting two women, one affixing a pin to the hat of the other. Signed in plate along the lower left. 1897.From the edition of 100 printed in black (aside from the editions of 50 printed in sanguine and 50 printed in brown), published/printed by Vollard/Auguste Clot, Paris, with margins, framed.Sight; Height: 25 1/4 in x width: 20 3/4 in. Framed; Height: 42 3/4 in x width: 35 1/2 in.

Books - Wartime London In Paintings; Passion by Design, The Art and Times of Tamara de Lempicka; Renoir; etc

A FRAMED RENOIR PRINT AND A GILT FRAMED MIRROR

A portfolio of fifteen 20th century unmounted prints to include: Renoir, William Russel-Flint, Lowry, Lionel Edwards, Marcel Dyf, Canaletto and others; a folder containing book pages 'Sixteen Views of Nineteenth Century Hackney', together with six prints of sketches on laid paper

Pierre-Auguste Renoir (French, 1841-1919) 'Claude Renoir, Tourné à Gauche' (Delteil 40; Stella 40)lithographsigned in the plate, 1904, from the edition of 1000, on wove paper, with full margins, Redfern Gallery label verso,31 x 25 cm**CONDITION REPORT**Lithograph on paper which at one time had a smaller mount so a slightly darker or yellowed outer margin is showing, along with a number of small scattered fox marks and some tiny dirt specks, housed in a plain card mount and silvered wood frame, Redfern Gallery label verso dated 1975.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Signed Renoir (Pierre Auguste), 2 women with hats, posthumous print, color lithograph numbered 110/275, 68x48 cm

After Renoir by quilter, The ball at Bouiual.

After Auguste Renoir, etching, seated women, signed in the plate, 13cm x 9cm, framedA line of discolouration around the edge of the plate, also even paper discolouration, modern frame and mount with damp stain in lower right-hand corner and bugs under the glass

Albert Marie Lebourg, 1849 Montfort-sur-Risle – 1928 RouenLes bords de l‘Iton à Hondouville en automne,um 1903Öl auf Leinwand.51 x 73,5 cm.Links unten signiert.Verso Aufkleber „Arthor Tooth & Sons“ mit Bildtitel, angerissener Aufkleber einer Ausstellung sowie eine Inv.Nr. „3064“. Bleistiftaufschrift mit Nennung "Hondouville" auf dem Keilrahmen.In Paris unterhielt Lebourg sein Atelier am Quai de Paris 9, ab 1903 am Quai du Havre 9, mit Blick auf die Seine. Dies mag dazu geführt haben, dass er sich bei vielen seiner Werke dem Fluss-Thema gewidmet hat. Doch bereits ab 1892 hatte er ein Haus in Rouen, von wo er auch Landschaften der näheren und weiteren Umgebung malte, wie das vorliegende Bild, das den kleinen Fluss Iton zeigt, nahe dem Städtchen Hondouville.1903 wurde der Maler Ritter-, 1924 Offizier der Ehrenlegion. Er war Mitglied der Académie de sciences, belles-lettres et arts von Rouen. Die Landschaftsdarstellung betont hellfarbig, trotz der links dunkler aufziehenden Wolken. Trotz der Entfernung sind die grasenden Rinder und die Gebäude jenseits des hellgrünen Ufers zu erkennen, die Farbpalette zwischen blau-grünen Hügeln, leuchtend grünen Wiesen und dem Lichtgold der herbstlichen Bäume in hoher malerischer Meisterschaft.Französischer Impressionist. Er gehörte zum Freundeskreis von Degas, Monet und Sisley. Bedeutender Maler der sogenannten Schule von Rouen, Schüler von Gustave Morin. Stellte bereits 1876 neben Claude Monet, Alfred Sisley und Renoir aus.Literatur:Léonce Bénédite: Albert Lebourg, Georges Petit, Paris 1923.François Lespinasse: L‘École de Rouen, Fernandez, Sotteville-lès-Rouen 1980. François Lespinasse: Albert Lebourg 1849-1928, Rouen 1983.François Lespinasse: L‘École de Rouen, Lecerf, Rouen 1995. (1331291) (11))

Gustave Caillebotte, 1848 Paris – 1894 GennevilliersLe Jardin, um 1878Öl auf Leinwand.33 x 46 cm.In dekorativem vergoldetem Rahmen.Beigegeben Zertifikat des Wildenstein Institute, Paris 1997.Der erste Eindruck von dem Gemälde ist der einer Fülle von Farben. Lange bevor man Blumen zu erkennen glaubt, erfasst das Auge zunächst eine Fülle von Farbklecksen, die eher an eine Palette als an ein Gemälde auf Leinwand erinnern. Vor allem der Vordergrund ist mit einem weichen Pinselstrich versehen, von einem Grün, das nicht versucht, sich von den Pinselstrichen zu lösen, mit denen es ausgebreitet wurde. Die Unschärfe der Behandlung lädt unser Auge dazu ein, darüber hinaus in die Tiefe des Bildes zu fokussieren. Dort tauchen Topfpflanzen auf und noch weiter hinten ein hoher Tisch mit drei Beinen. Wir befinden uns in einem Garten, der von einem Weg mit Blumenkästen durchzogen ist. Das Blumenbeet im Vordergrund erhält so seine volle Bedeutung und seinen Platz. Gustave Caillebotte hat mit seinem schnell gemalten Gemälde einen impressionistischen Eindruck hinterlassen; Farben und verstreut hier und da seine roten Pinselstriche, die nach den Regeln der Perspektive immer weniger werden. Das gleißende Licht der reinen Farben im Vordergrund ist zwar auch auf die der impressionistischen Malweise zuzuschreiben ist, ist es doch der Blickwinkel, der die Originalität dieser Komposition ausmacht. Der Blickwinkel befindet sich in der Nähe der Blumen im Vordergrund und zeigt uns den Tisch in einer leichten Untersicht. Innovativ, gewagt, wie eine Fotografie gerahmt, fasst dieses Werk auf den Punkt allein die Modernität von Gustave Caillebotte. (†)Provenienz:Privatsammlung A.K., Paris.Anmerkung:Gustave Caillebotte (1848-1894) war ein französischer Maler des Impressionismus. Nach einem Jurastudium begann er im Atelier von Léon Bonnat (1833-1922) zu malen und später an der École des Beaux-Arts in Paris. Nach dem Tod seines Vaters im Jahr 1874 erbte er ein komfortables Vermögen und konnte sich der Malerei widmen. Zu dieser Zeit beginnt er kleine Bildformate des Familienanwesens in Yerres zu malen, bis es 1878 verkauft wurde. Sein erstes Bild im Jahr 1875 war das realistische Gemälde „Les Raboteurs de parquet“ und wurde auf dem Salon wegen seines prosaischen Themas, der Arbeit von Arbeitern, abgelehnt. Caillebotte wandte sich daraufhin dem Impressionismus zu und nahm an den Impressionistenausstellungen von 1876, 1877, 1879, 1880 und 1882 teil. Er unterstützte die Bewegung finanziell und beteiligte sich persönlich an bei der Organisation der Ausstellungen. Er kaufte Gemälde von Monet, Pissarro, Degas, Renoir und Manet und baute so eine außergewöhnliche Sammlung auf, die er nach seinem Tod dem Staat vermachte. Diese Gemälde befinden sich heute im Musée d‘Orsay in Paris. Im Jahr 1880 kaufte Caillebotte ein Anwesen in Petit-Gennevilliers am Ufer der Seine, wo er seine impressionistischen Freunde empfing, darunter insbesondere Monet, der sich von seinem Garten inspirieren ließ, um seinen eigenen in Giverny anzulegen. Der Kontakt mit ihm führte dazu, dass der glatte Pinselstrich und die scheinbare Zeichnung der Anfänge verschwanden, und stattdessen setzt er nun auf eine fragmentierte Zeichnung und die Darstellung von Formen und Licht durch die Gegenüberstellung von Farben, wie man sie in diesem Garten bewundern kann. Als Paul Durand-Ruel 1886 in New York eine große Impressionistenausstellung mit 300 Gemälden organisierte, waren auch zehn Bilder von Caillebotte dabei vertreten, was ihn beim amerikanischen Publikum bekannt machte. Sein früher Tod im Alter von 46 Jahren unterbrach den Werdegang eines der originellsten Talente des Impressionismus und brachte ihn um seinen Ruhm, den er erst ein Jahrhundert später erlangte. (1330935) (18)Gustave Caillebotte,1848 Paris – 1894 GennevilliersLE JARDIN (THE GARDEN), CA. 1878Oil on canvas.33 x 46 cm. Accompanied by a certificate by Wildenstein Institute, Paris, 1997. (†)Provenance:Private collection A.K., Paris.

Louis Valtat, 1869 Dieppe – 1952 ParisLA 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).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 ParisVase de fleurs, um 1903Öl auf Karton.43 x 24 cm.Rechts unten monogrammiert „L.V“ und auf Karton Verweis auf Zertifikat Nr. 431 im Catalogue Raisonné.In teilvergoldetem Rahmen.Vor zartem, grün-rötlichem diffusem Hintergrund eine schlanke bemalte Vase mit blühenden weißen Lilien. Malerei in teils pastosem, breitpinseligem Farbauftrag im Stil der „Fauves“. (†)Anmerkung:Valtat gilt als einer der Hauptvertreter der „Fauves“, dessen Werke international in den bedeutendsten Sammlungen vertreten sind. Er wurde bereits im Alter von 17 Jahren Mitglied der École 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.Literatur.Jean Valtat, Louis Valtat. Catalogue de l‘oeuvre peint, 1869-1952, Bd. I, 1977, S.48, Abb. 431. (1322014) (18)Louis Valtat,1869 Dieppe – 1952 ParisVASE DE FLEURS, ca. 1903Oil on card.43 x 24 cm.Monogrammed “L.V” lower right and on card on the reverse reference to certificate no. 431 in the Catalogue raisonné. (†)Notes:Valtat is regarded the main representative of the “Fauves” movement and his works are held in the most important collections worldwide.Literature:Jean Valtat, Louis Valtat. Catalogue de l’oeuvre peint, 1869-1952, ed. I, 1977, p. 48, ill. 431.

Fritz Friedrichs (Hamburg 1882 - Hoopte 1928). Tafelstilleben. 1906. Öl/Lw. 53,5 x 76 cm. R. u. sign. und dat. Friedrichs 06. Zustand Sehr unauffällig rest., doubl. - Hamburger Landschafts- und Figurenmaler. F. besuchte 1898-1900 die Hamburger Kunstgewerbeschule, 1901-03 war er Malschüler bei A. Siebelist. 1903 wurde er Mitglied des Hamburgischen Künstlerclubs. F. Nölken vermittelte ihm 1909 die Teilnahme an einer Ausstellung der 'Brücke'. 1912 konnte er nach Paris reisen. Eine Verwundung im 1. Weltkrieg zog 1915 einen Lazarettaufenthalt nach sich. Trotz Unterstützung durch den Hamburger Mäzen E. Rump hatte der Künstler zeitlebens mit finanziellen Schwierigkeiten zu kämpfen. F. war der Lehrer von G. Wohlwill. Sein impressionistischer Malstil zeigt sich beeinflusst von Cézanne und Renoir. Mus.: Hamburg (Kunsthalle, Hamburg-Mus.), Bremen. Lit.: Der Neue Rump, Vollmer, Meyer-Tönnesmann u.a.

Renoir, Pierre-Auguste (1841-1919, nach) - Maternité, Lithografie, im Stein signiert, erschienen 1951 bei Mourlot in Paris, verso typografischer Text, hinter Passepartout montiert, Maße: ca. 32 x 24,5 cm (Blattmaß), 50 x 40 cm (mit Passepartout), Blatt leicht gedunkelt

After Pierre-Auguste Renoir (French, 1841-1919) 'Femme Nue Couchée - Tournée à Droite', etching, first published 1906, framed,overall 41.5cm x 45.5cm, within frame 17.75cm x 23.75cm Condition: Unexamined out of frame - apparently very good condition - paper not sitting flat

TWO PRINTS OF ST MARK'S, VENICE The larger after Renoir, 92 x 77 cms

CIRCLE OF PIERRE AUGUSTE RENOIR 1841-1919 OIL ON CANVAS LAID DOWN- IMPRESSIONIST RIVER LANDSCAPE 18CM X 29CM ORIGINAL CONDITION

Set of 8 original vintage art posters of various artists. 1. Abstract Composition by an Indian painter and sculptor Shanti Dave (b.1931) from the Air-India's Collection of Contemporary Indian Art, the poster features an abstract art example in yellow, green, blue, white, brown and black colours. Printed by the Eagle Lithographing Co LTD India. Very good condition, creasing. Country of issue: India, designer: Shanti Dave, size (cm): 101x76, year of printing: 1970s; 2. Orange Flowers by an Indian atist Narayan Shridhar Bendre (1910-1992) from the Air-India's Collection of Contemporary Indian Art, the poster features two people in white clothing, a tree, and orange flower background. Printed by the Eagle Lithographing Co LTD India. Good condition, creasing, tears, staining. Country of issue: India, designer: N.S. Bendre, size (cm): 102x77, year of printing: 1970s; 3. The Flower Seller - Artwork by Pablo Picasso (1881-1973) features a street scene includng people sitting on benches, children playing, a horse dawn cariage and a lady selling flowers. Printed and published in England by Ganymed Press London. Horizontal. Good condition, staining, creasing, pencil mark in margin. Country of issue: UK, designer: Pablo Picasso , size (cm): 46x63, year of printing: 1960s; 4. Le Jardin De Daubigny / Daubigny's Garden - Artwork by Vincent van Gogh (1853-1990) features a luscious green garden with a cat in the foreground and large houses in the background. Horizontal. Fair condition, staining, creasing, tears, paper loss in bottom right corner, printed text on reverse. Country of issue: France, designer: Vincent Van Gogh, size (cm): 56x83, year of printing: 1960s; 5. Place Clichy - Artwork by Pierre-Auguste Renoir (1841-1919) features a lady in a warm coat and hat looking back at busy street scene with smartly dressed people and a horse drawn carriage. Printed and published in England by Ganymed Press London. Good condition, creasing, staining. Country of issue: UK, designer: Auguste Renoir , size (cm): 74x60, year of printing: 1960s; 6. Portrait of the Artist - Artwork by Rembrandt van Rijn (1609-1669) features a self portrait of the artist holding a pait pallet. Printed and published in England by Ganymed Press London. Good condition, creasing, tears, staining, foxing, Country of issue: UK, designer: Rembrandt Van Rijn, size (cm): 79x60, year of printing: 1960s; 7. La Seine A Courbevoie - Artwork by Georges Seurat (1859 - 1891) features boats on the river Seine using his famous pointillism painting technique. Printed in Switzerland. Horizontal. Good condition, pinholes, tears, staining. Country of issue: Switzerland, designer: Georges Seurat, size (cm): 48x60, year of printing: 1960s; 8. Flower Piece by Jan Breughel the Elder from the collection Rijksmuseum Amsterdam, The Netherlands, featuring a colourful image of peonies, lilies, tulips, roses, and wildflowers in a vase. Jan Brueghel the Elder (1568-1625) was a Flemish painter, son of a Flemish Renaissance painter Pieter Bruegel the Elder, known for flower still lifes, allegorical and mythological scenes, landscapes and seascapes, hunting, village, battle scenes, the painting from the poster Flowers in a Wooden Vessel was painted in 1603. Published by Prints for Pleasure Ltd. Printed in Holland. Good condition, creasing, tears. Country of issue: Holland, designer: Jan Breughel the Elder, size (cm): 77x60, year of printing: 1970s.

Jean Renoir (1894-1979) French, a landscape composition, watercolour, signed, 7" x 9" (18 x 22cm), (unframed).

Pierre-Auguste Renoir (French, 1841-1919), Baigneuse Debout, a Mi Jambes' c 1910, Etching, framed and glazed, 16cm x 11cm

'A little boy writing' Renoir framed print and Simon Combes 'Lioness with cubs' limited edition print 149/850

A selection of books relating to art and antiques, including: The Gentle Art of Faking Furniture, by Herbert Cescinsky; Encyclopaedia of the Arts, by Herbert Read (Ed.); Renoir: My Father, by Jean Renoir; A Short History of Engraving and Etching, by A.M. Hind; and others, contained across two boxes.

CIRCLE OF PIERRE AUGUSTE RENOIR 1841-1919 OIL ON CANVAS LAID DOWN- IMPRESSIONIST RIVER LANDSCAPE 18CM X 29CM ORIGINAL CONDITION

(1886 Pöchlarn - 1980 Montreux)"Tilla Durieux". OriginaltitelLithographie/Japan-Papier, 1920. Sign. und nummeriert 70/150. Im Stein monogr.; Verlag: Paul Cassirer, Berlin; Druck: Pan-Presse, Berlin. Wvz. Wingler/Welz 139. Darstellung ca. 63 cm x 47,3 cm. Rahmen.Schon 1910 hatte Kokoschka ein berühmtes Porträtgemälde von Durieux geschaffen, der 1920 diese Lithographie folgte. Tilla Durieux (1880 - 1971) gehört zu den bedeutendsten Schauspielerinnen des 20. Jhs. und feierte ab 1903 Triumphe in Berlin. 1910 heiratete Durieux den Berliner Kunsthändler Paul Cassirer, wodurch sie direkt in die Kunstszene involviert war und verstärkt zum Objekt künstlerischen Interesses wurde. Zweifellos ist Durieux eine der meistdargestellten Künstlerpersönlichkeiten im Deutschland der 1910er und 1920er Jahre. Außer Kokoschka porträtierten sie u. a. Ernst Barlach, Lovis Corinth, Max Liebermann, Emil Orlik, Auguste Renoir und Franz von Stuck. Lithograph on Japan paper, 1920. Hand-signed and numbered 70/150. Monogrammed on the stone.

Circle of Pierre Auguste Renoir (1841-1919) French. Oil on cavas laid down. “An Impressionist River Landscape”Measures 18cm x 29cm.Condition Report – Original condition.

Francis Joseph Vernay (1864-1950). Summer landscape, oil on canvas, 40cm x 37cm. Vernay was a friend of Renoir.

PAINTINGS AND PRINTS ETC, to include amateur watercolours by Robin Pulman, subjects include landscapes and studies of fish, Renoir print on canvas, approximate size 43cm x 55cm, prints after Maurice Utrillo, Lowry print 'A Lancashire Village', reproduction maps, a book about Turner by Camille Mauclair published 1939

An original Renoir Etching of children on the beach

Winston Churchill Seven Volumes - WWII, A Tour in Scotland and Voyage To The Hebrides, printed by John Monk, with black and white plates, together with a box of Great Artists, Bruegel, Renoir, Rubens:- Two Boxes.

After Pierre Auguste Renoir - A Box at the Theatre (At the Concert), oil on canvas, indistinctly signed and dated 1964 verso, 89.5cm x 59.5cm, within a painted composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.