Renoir, Pierre-Auguste (Limoges 1841 - 1919 Cagnes-sur-Mer) Zwei Radierungen, a) "Baigneuse debout à mi-jambes" auf chamoisfarbenem Bütten, Platte 16,5 x 11,2 cm, 1910, Blatt 24,5 x 21,5 cm und b) "Femme Nue Couchée (Tourné à Droite)" auf Simili-Japan, Platte 13,6 x 19,5 cm, 1906, Blatt 29 x 40 cm, jeweils spätere Abzüge, rückseitig jeweils Montierungsreste und von fremder Hand bezeichnet/betitelt, sonst sehr guter Zustand, jeweils ungerahmt 6230 Lit.: L. Delteil Nr. 13 und 23 Prov.: Sammlung Dr. Heinrich Becker, Besitz der Erben, Privatsammlung Bielefeld, Dr. Heinrich Becker (Braunschweig 1881 - 1964 Bielefeld) war Leiter des Städtischen Kunsthauses Bielefeld (Vorläufer der Kunsthalle Bielefeld von 1927 bis 1933 und von 1946 bis 1954, in dieser Zeit richtete er über 80 Ausstellungen u.a. mit Werken von Käthe Kollwitz, August Macke, Edvard Munch oder Emil Nolde aus, seine privaten Sammlungen umfassten neben Werken des deutschen Im- und Expressionismus auch umfangreiche Bestände an Graphiken des 18. und 19. Jahrhunderts, sein besonderes Interesse galt den regionalen Künstlern mit umfangreichen Kollektion u.a. von Peter August Böckstiegel, Hermann Stenner, Heinz Lewerenz und Künstlern mit reginalem Bezug wie Conrad Felixmüller oder Robert Sterl
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AUGUSTE RENOIR Limoges 1841 - 1919 Cagnes bei Nizza: Femme nue couchée (tournée à droite), 2e Planche - Baigneuse debout, à mi-jambes. 2 Bll. Radierungen mit Plattenton um 1906/10. Delteil und Stella 14 und 23. - Auf Bütten.13,8 x 19,6 und 16,8 x 11,1 cm. Bl. 1 mit schwachen Knickspuren am rechten Rand. Spätere Abdrucke. [bg]
Pierre Auguste Renoir The Luncheon of The Boating Party by Martha Carey Softback Book 1981 First Edition published by The Phillips Collection some ageing good condition. Sold on behalf of the Michael Sobell Cancer Charity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Renoir, Auguste - - Theodore Duret. Histoire des Peintres Impressionistes: Pissaro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Mit 3 Original-Radierungen und 1 Holzschnitt., sowie zahlr. Tafeln u. zahlr. Abbildungen. Paris, Floury, 1919. 149 Bll., 2 S. OBrosch. (etwas bestoßen). Zweite Ausgabe. - Mit den Originalradierungen von Auguste Renoir (Jeunes Filles, Baigneuse), Armand Guillaumin (En Hollande) und dem Holzschnitt von Lucien Pissarro nach einer Zeichnung von Camille Pissarro (La Femme aux Poules). Papierbedingt etwas gebräunt, Schönes Exemplar. With 3 original etchings and 1 woodcut. - Second edition. - With the original etchings by Auguste Renoir (Jeunes Filles, Baigneuse), Armand Guillaumin (En Hollande) and the woodcut by Lucien Pissarro after a drawing by Camille Pissarro (La Femme aux Poules). Paper-conditioned somewhat browned, else fine copy.
LUCIEN PISSARRO (1863-1944) 'A Garden at Bormes' monogrammed and dated '26 lower left, oil on canvas, 46cm x 55cm Provenance: A gift from the Artist, with inscription verso "Tommy & Christine from Lucien & Esther Pissarro". Pissarro was born on 20 February 1863 in Paris. He was the oldest of seven children; the son of Impressionist painter Camille Pissarro and his wife Julie (née Vellay). He studied with his father and—like his siblings Georges and Félix—he spent his formative years surrounded by his father's fellow artists such as Claude Monet and Pierre-Auguste Renoir who frequented the Pissarro home. He was influenced by Georges Seurat and Paul Signac.In 1886, he exhibited at the last of the Impressionist exhibitions. From 1886 to 1894 he exhibited with the Salon des Independents.He first visited Britain in 1870–71 during the Franco-Prussian War. He returned in 1883–84, and in 1890 settled permanently in London. On 10 August 1892 he married Esther Levi Bensusan in Richmond. While renting a cottage at Epping, Essex on 8 October 1893 their daughter and only child, Orovida Camille Pissarro, was born. Orovida also became an artist. He met Charles Ricketts and Charles Shannon, and contributed woodcuts to their Dial. In 1894 he founded the Eragny Press and with his wife and illustrated and printed books until the press was closed in 1914. In 1897 the family moved to 62 Bath Road in Stamford Brook, Chiswick. In 1903 he designed the typeface Brook Type.Pissarro associated with Walter Sickert in Fitzroy Street, and in 1906 became a member of the New English Art Club. From 1913 to 1919 he painted landscapes of Dorset, Westmorland, Devon, Essex, Surrey and Sussex.In 1916 Pissarro became a British citizen. While in Britain he was one of the founders of the Camden Town Group of artists. In 1919, he formed the Monarro Group with J.B. Manson as the London Secretary and Théo van Rysselberghe as the Paris secretary, aiming to show artists inspired by Impressionist painters, Claude Monet and Camille Pissarro. The group ceased three years later.From 1922 to 1937 he painted regularly in the south of France, interspersed with painting expeditions to Derbyshire, south Wales and Essex. From 1934 to 1944 he exhibited at the Royal Academy in London. He died on 10 July 1944, in Hewood, Dorset.In February 1926 Lucien went to Bormes les Mimosa which is on a hill overlooking Le Lavandou on the south coast of France. He painted many oils here and stayed until May when his mother, Julie Vellay passed away.
"Futur", perfume by RENOIR. France, ca. 1945.Moulded glass and lithographed cardboard.Provenance: Spanish private collection, formed between 1970 and 1995.Wear and tear due to use and the passage of time.Measurements: 7.5 x 4.5 x 2.5 cm (bottle); 9.5 x 5.5 x 3.5 cm (box).Bottle of perfume "Futur", by Renoir, in moulded glass. Preserves perfume. In original lithographed cardboard box. Launched in 1939, it was classified as an oriental or semi-oriental fragrance.Parfums Renoir was established at 20 rue de la Paix, Paris in 1939. They launched their own line of fragrances, but also produced perfumes for other companies such as Robert Piguet. Renoir later became Raucour in 1946. The perfumes were distributed in the United States by Mauvel Ltd. of New York.
Set of thirteen original vintage art exhibition advertising posters. 1. Capital Painting Pictures from Corporate Collections in the City of London held at the Barbican Art Gallery 19 April to 10 June 1984, featuring an artwork titled Old Waterloo Bridge (1921) by a British landscape and urban subject painter Charles Isaac Ginner (1878-1952), depicting cargo and busses full of people crossing the bridge with a ship below, a lantern in the foreground and city in the background. Designed by Trilokesh Mukherjee. Printed by Staples Printers St. Albans. Good condition, creasing, pinholes, folds, small tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1984.; 2. The Medieval Treasury European Art and Design 400-1400AD at the Victoria & Albert Museum featuring a photograph of a colourful French (probably from the Collegiate Church of Saint-Étienne, Troyes) stained glass window depicting religious motif. Good condition, folds, creasing. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1980s.; 3. Elizabeth Blackadder (b. 1931) A Scottish Arts Council Exhibition in The Royal Academy of Arts, Piccadilly London W1, 17th July to 22nd August 1982. Open daily 10am - 6pm including weekends. Admission £1.20 (Concessionary rate 80p). The poster features an abstract painting by Blackadder from 1981. Elizabeth Blackadder was a Scottish painter and printmaker. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 60x42, year of printing: 1982.; 4. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Very good condition, light creasing, minor creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 5. The Eastern Carpet in the Western World exhibition held at the Hayward Gallery South Bank, London 20 May - 10 July 1983, featuring a photograph of a red, blue, white, and brown Turkish 15th-16th century Bellini prayer rug detail from Museum fur Islamische Kunst, Berlin. Printed by Jolly & Barber Limited, Rugby. Good condition, folds, minor creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983.; 6. Karakuri Ningyo Antique Festival Robots from Japan 28 November 1985 to 26 Januart 1986 at the Concourse Gallery Barbican Centre, featuring an illustration of a smiling traditional Japanese mechanised puppet with a maple tree in the foreground, yellow Japanese writing, red and white lettering. Designed by Trilokesh Mukherjee. Printed by Expression Printers Ltd, London. Good condition, folds, creasing. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1985.; 7. Richard Wilson artwork exhibition at the Tate Gallery 3 November 1982 - 2 January 1983, featuring Richard Wilson's (1714-1782) View on Hounslow Heath c. 1765, depicting a lady in red clothing and yellow hat seated on a hill with a picnic basket next to her and lush green trees and shrubbery around her. Designed by Sue Fowler. Published by the Tate Gallery Publications. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1983. 8. David Cox Oil paintings and watercolours exhibition 9 November 1983 until 3 January 1984 at the Victoria & Albert Museum, featuring a detail from David Cox (1783-1859) Crossing the Sands painting, depicting men and women on horses walking on sand with dark skies behind them. Good condition, folds, creasing, pinholes, small paper loss in bottom left corner. Country of issue: UK, designer: David Cox, size (cm): 76x51, year of printing: 1983.; 9. William Crozier Paintings and Drawings exhibition at the Richard Demarco Gallery 5-22 May 1983, featuring a colourful abstract artwork by an Irish-Scots still-life and landscape artist William Crozier (1930-2011) in bright red, blue, pink and green colours. Design Forth Studios Edinburgh. Good condition, folds, staining, double sided. Country of issue: UK, size (cm): 42x30, year of printing: 1983.; 10. The Orientalists Delacroix to Matisse European Painters in North Africa and the Near East exhibition at the Royal Academy of Arts 24 March - 27 May 1984, featuring a painting by Renoir 'A Girl with a Falcon' 1880. Good condition, folds, creasing, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1984.; 11. Take the Slow Boat to China. Chinese Export Art Gallery at Victoria & Albert Museum as part of Season of Special Events organised by Festival of Chinese Arts, featuring a clockwork marvel of model boat making in intricate ivory. Good condition, folds, creasing, pinholes, small tears on corners. Country of issue: UK, size (cm): 76x51, year of printing: 1980s.; 12. The Work of Alison Britton exhibition 14 November 1979 - 12 January 1980 at the Crafts Council Gallery, featuring photographs of colourful ceramic vases and jugs. Alison Britton (b.1948) is a British ceramic artist. Good condition, creasing, small tears, pinholes, discolouration. Country of issue: UK, size (cm): 76x51, year of printing: 1980.; 13.Original vintage advertising poster for Coal. British Mining in Art 1680-1980, an exhibition organised by the Arts Council of Great Britain with the National Coal Board, that took place 8 January - 6 February 1983 at the Science Museum, featuring an artwork depicting a miner sat on his knees mining coal with a pickaxe in a coal mine lighted by a single light. Good condition, fold, minor creasing. Country of issue: UK, designer: , size (cm): 42x30, year of printing: 1983.
Pierre-Auguste Renoir (French 1841-1919) "Le Chapeau Epingle" (La Fille de Berthe Morisot et sa Cousine), circa. 1894, etching.plate size 12cm x 8.5cm (4.75in x 3.25in)Condition report:The print is in good, original condition. There are some minor areas of browning and cockling across the paper. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
LOUIS ANQUETIN (1861-1932)Elégantes, scène de rue signed and dated 'Anquetin 88' (lower right)pastel, charcoal and wash on paper51.3 x 59cm (20 3/16 x 23 1/4in).Executed in 1888Footnotes:The authenticity of this work has been confirmed by Brame & Lorenceau. This work is included in the Louis Anquetin archives.ProvenanceEdouard Borderie Collection, Paris (acquired in 1946).Bernard & Betty French Collection, Kidderminster (acquired from the above circa 1947).Cyril Lavenstein Collection, Kidderminster (acquired from the above in 1956).Private collection, UK (acquired from the above in 1977).Thence by descent to the present owner.Louis Anquetin rose to fame in the late 1880s among the post-Impressionist artists, and was instrumental in the birth of Cloisonnism. Élégantes, scène de rue, executed in 1888, is a prime example of the artist's work from this key period. Anquetin studied at the Beaux-Arts de Paris in the studio of Fernand Cormon. Cormon was a pompier artist who painted large, academic subjects of historical inspiration which were welcomed by the Third Republic and deemed official art. Yet his atelier attracted many avant-garde painters who would radically separate themselves from academism and noble subjects (historical or allegorical), such as Vincent van Gogh, Henri de Toulouse-Lautrec and Émile Bernard. Remaining in this atelier for four years, Anquetin and his peers would inspire each other – the former's influence on van Gogh for example is particularly visible in works such as Avenue de Clichy, cinq heures du soir which preceded van Gogh's famous The Cafe Terrace on the Place du Forum by a year.Paul Gauguin would eventually also join these artists, and van Gogh named the group 'les artistes du petit boulevard'. Translating to 'the artists of the small boulevard', the name referred to the areas they worked around Montmartre, near the Boulevard de Clichy and the Boulevard de Rochechouart. The title was also to distinguish themselves from other well-established artists such as Edgar Degas, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro, who were termed 'les artistes du grand boulevard'. These artists worked in more elegant neighbourhoods and exhibited in major galleries, whereas Anquetin, van Gogh, Toulouse-Lautrec and Bernard would still exhibit in small cafés and restaurants. At the 1888 Salon des Indépendants, the critic Édouard Dujardin announced in the Revue Indépendante that Louis Anquetin had created a new genre, which he termed 'Cloisonnism'. This referred to a new post-Impressionist style of painting with bold and dark contours around flat areas of colours and simplified forms. It is said that the idea came to Anquetin when he was at his parents' house as he looked up outside through a glass door with coloured tiles. Also inspired by the Japanese prints collected by his friend Vincent van Gogh, Anquetin became transfixed by the different shades and colours that this stained glass gave the outside world. Dujardin's article immediately propelled Anquetin to fame. Élégantes, scène de rue was executed during that pivotal year of 1888. In accordance with the technique of Cloisonnism, the main figure in the present work, dressed in green, is delineated by a thick black line that creates a compartmentalisation of the forms whilst following the folds of her garment. Seen from behind, she crosses a boulevard whilst gazing to her right, beyond the composition. A second woman, holding an parasol, looks directly at her, whilst a gentleman seated in a carriage beyond contemplates them both. Anquetin builds the composition through a triangle of looks, which follows the path of each protagonist's gaze as it bounces from one figure to the other. In this enigmatic trio where no interest is reciprocal, the painter relegates the male gaze to the background of the composition and foregrounds instead the female gaze.The contrast between the elegantly depicted central figure and the more caricature-like appearance of the man in the carriage and the woman in purple – whose loud make-up hints she is a prostitute looking for a client - is characteristic of Anquetin's work and seen in works such as Élégante à l'Élysée Montmartre, 1888, in the Art Institute of Chicago. The more carefully constructed figure draws our attention away from the darker elements at play, nonetheless placing Anquetin as an observer of urban life in the late 1880s. Anquetin worked on a thematically linked group of works exploring the morals and behaviours of lesbian relationships, such as the one at the Van Gogh Museum in Amsterdam, which is very similar to the present work. As Richard Thomson explains, 'at the turn of the decade, Anquetin treated this specific theme on a number of occasions, representing the woman in her carriage on the lookout, the eye contact from carriage to pavement, and the pedestrian woman using her tongue to signal a passing vehicle' (R. Thomson, The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900, London, 2004, p. 38). These images were discreet and relied on codes that were mostly insider knowledge, which made them an even more appealing subject for artists like Anquetin or Toulouse-Lautrec who were never reluctant to show controversial subjects at the turn of the century and explore the hidden side of Parisian society. A trip to Belgium and Holland with Henri de Toulouse-Lautrec and Jos Albert in 1894 however, prompted a shift in Anquetin's work towards a more classical style, heavily inspired by Old Masters such as Rubens and Rembrandt. He became a teacher and taught his pupils the 'retour au métier' ('return to the craft'), rather than encouraging them to strive for modernity and experimentation. The present work thus marks a poignant end to his most creative and innovative period.For further information on this lot please visit Bonhams.com
French school, ca.1870-1880."Afternoon at the Beach.Oil on canvas.Size: 40 x 95 cm; 66 x 121 cm (frame).With a landscape framing and a wide panoramic opening, the present canvas resolved with impressionist technique, carried out at the time when this artistic movement was breaking moulds with its way of capturing reality, denotes the influence of painters like Renoir or Monet. The dense forest on the left is thinning with trees as it approaches the sea, opening up on the right with a magnificent marina lined with boats. Elegant women are nestling among the makeshift tents that have been set up for picnics. Others, with their husbands and young offspring, head for the shore, attracted by the sailing boats, breaking up into small groups. The vibrant, impastoed brushstroke captures from nature the web of light and colour filtering through the thick green canopies, breaking up the forms but without losing the referential element: the elegant headdresses, long, long-tailed dresses, cotton aprons, fine lace.... And although the detail is subsumed by the typically Impressionist incandescent light, there remains a certain reluctance to stop describing the quality of the fabrics, the narrative implicit in the gestures, the anecdote of each gesture. This is a coastal landscape, probably Norman, perhaps from the Loire region, which was also immortalised by Renoir in those years when plein air painting reached a high level of development. Outdoor picnics, dances and everyday pleasures were sublimated by the French Impressionists, revolutionising the way of looking.
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist artist. A good vintage signed 8.5 x 6.5 photograph, being a reproduction of one of the artist's still life studies featuring a fish and entitled Nature Morte au Poisson. Signed ('Renoir') in black ink with his name alone to the lower white border. Also signed by the Mayor of Cagnes beneath a short statement confirming the authenticity of Renoir's signature, dated 10th January 1911. The lower border also features the Mayor's official purple rubber stamp. Neatly mounted to a 9 x 9.5 page removed from a contemporary album. Some very light, extremely minor age wear, VG In the later years of his life Renoir suffered from the crippling effects of arthritis which impacted on his work and he turned to subjects which could be executed in the studio, including still-lifes. Such paintings could be finished quickly, illustrated by the sureness of the long, gestural strokes which define the fish in the present image. Nature Morte au Poisson, an oil on canvas, was originally owned by Renoir's cataloguer, the French art dealer Ambroise Vollard (1866-1939). Vollard, in order to avoid any future disputes regarding the authenticity of works by Renoir, had all the original paintings photographed and then asked Renoir to sign each photograph whilst being witnessed by the Mayor of Cagnes.
CASSATT MARY: (1844-1926) American Painter, one of 'Les Trois Grandes Dames' of Impressionism. A.L.S., `Mary Cassatt´, two pages, 8vo, n.p., 14th September, n.y., on the Mesnil-Beaufresne printed stationery, to art critic Achille Segard, in French. Cassatt writes to her biographer regarding one of her paintings, and states in part `…allow the person sent by the Durand-Ruel Gallery to take my painting in your house. I would like to finish what I have to do during my stay here where I have the models and the place to work and October would be a little late if I leave early to the south of France." EX Paul Durand-Ruel (1831-1922) French Art Dealer. Probably the most important commercial advocate of impressionists, providing monetary support to his painters and solo-exhibitions. He counted Degas, Monet, Manet and Renoir among his clients.
Vollard (Ambroise). La Vie & l'Oeuvre de Pierre-Auguste Renoir, Paris: Chez Ambroise Vollard, 1919, etched frontispiece (with Renoir's stamped signature), 51 monochrome plates, 1 colour lithograph by Auguste Clot after Renoir, original printed wrappers, glassine wrapper (vertical split and a few chips along spine), 4to Qty: (1)Footnote: Limited edition 802/1000 on beau papier teinté.
Renoir, P.-A. - Vollard, Ambroise. La vie & l'oeuvre de Pierre-Auguste Renoir. 261 S., 9 Bl. Mit einer Original-Radierung von Renoir, 51 (davon eine farbig) Tafeln und 162 Abbildungen. 32 x 24,5 cm. Halbleinen d. Z. (etwas fleckig) mit goldgepr. RTitel. Paris, A. Vollard, 1919.Mahé III, 697-8. Monod 9641. - Erste Ausgabe. Eines von 375 nummerierten Exemplaren auf Vélin d'Arches (Gesamtauflage 1000 Ex.). "Die umfassende Monographie über den Meister. Die wichtige Ergänzung zum Werkverzeichnis, von Vollard 1918 publiziert." (Dok.-Bibl. IV, 92). Als Frontispiz die Radierung "Baigneuse assise" (Delteil 11), im Buch als "Femme nu" bezeichnet, wie immer mit der gestempelten Signatur. Titel in Rot und Schwarz. - Leicht gebräuntes, insgesamt wohlerhaltenes Exemplar.
Jean Renoir, film director. A signed 5. 5x3. 5 page with an unsigned modern printed photo. Ranked by the British Film Institute as the fourth greatest director of all time. A mark to page above' Sincerely', not affecting signature with directors details to back. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Pierre-Auguste Renoir, 1841 Limoges – 1919 CagnesBUSTE DE FEMME, 1916 Öl auf Leinwand. 13,5 x 15 cm. Links unten mit gestempeltem Monogramm „R“. In vergoldetem Louis XV-Rahmen.Das vorliegende Gemälde wird aufgenommen in den Renoir Digital Catalogue Raisonné, der durch das Wildenstein Plattner Institute vorbereitet wird. Schon um 1892 zeigten sich erste Anzeichen rheumatoider Arthritis, die Renoir zu mehreren Kuraufenthalten bewegten. 1907 zog er dann nach Cagnes-sur-Mer bei Nizza, in sein Landhaus Les Collettes, wo viele Gemälde entstanden, obwohl er dann bereits an den Rollstuhl gefesselt war. In dem vorliegenden Gemälde sind die für Renoir typischen Farbnuancen pastellhaft auf uns gekommen und vermitteln ein lebhaftes Bild seines Schaffens. (†)Provenienz: Nachlass des Künstlers. Galerie Barbazanges, Paris (erworben aus obigem 1922-1927). Hammer Galleries, New York. Privatsammlung, New York. Sotheby‘s, New York, 16. Februar 1989, Lot 12. Privatsammlung Schweden. In den 1990er-Jahren erworben durch den Einlieferer für: Sotheby‘s, London, 27. Februar 2019, Lot 242. Privatsammlung USA. Literatur: Galerie Bernheim-Jeune (Hrsg.), L‘Atelier de Renoir, Paris 1931, Nr. 564, Tafel 178. Guy-Patrice Dauberville, Michel Dauberville, Renoir. Catalogue Raisonné des tableaux, pastels, dessins et aquarelles. 1911-1919, Bd. 5, Paris 2014, Nr. 4232, abgebildet auf S. 349. (1301314) (13)Pierre-Auguste Renoir,1841 Limoges – 1919 CagnesBUSTE DE FEMME, 1916Oil on canvas.13.5 x 15 cm.Stamped monogram “R” lower left. The painting on offer for sale in this lot will be included in the Renoir Digital Catalogue Raisonné, currently being prepared by the Wildenstein Plattner Institute. (†)Provenance:Artist’s estate.Galerie Barbazanges, Paris (acquired from the above 1922-1927).Hammer Galleries, New York.Private collection, New York.Sotheby’s, New York, 16 February 1989, lot 12.Private collection, Sweden. Acquired by the current owner in the 1990s from:Sotheby’s, London, 27 February 2019, lot 242.Private collection, USA.Literature:Gallery Bernheim-Jeune (ed.), L’Atelier de Renoir, Paris 1931, no. 564, plate 178.Guy-Patrice & Michel Dauberville, Renoir Catalogue Raisonné des tableaux, pastels, dessins et aquarelles 1911-1919, no. 4232, ill. on p. 349.
Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, zug.LE JARDIN, UM 1878 Öl auf Leinwand. 33 x 46 cm. In dekorativem vergoldetem Rahmen.Der erste Eindruck von dem Gemälde ist der einer Fülle von Farben. 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 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. (1301338) (18)Gustave Caillebotte, 1848 Paris – 1894 Gennevilliers, attributedLE JARDIN (THE GARDEN), CA. 1878Oil on canvas.33 x 46 cm. (†)Provenance:Private collection A.K., Paris.
Maurice Utrillo, 1883 Paris – 1955 DaxLE MOULIN DE LA GALETTE, UM 1921 Öl 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 Blache, 1978. 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. (13013329) (10)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 Blache, 1978.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.
Roderic O'Conor (1860-1940)Marine, au Clair de LuneOil on canvas laid down on board, 73 x 92cm (28¾ x 36¼'')Stamped 'atelier O'CONOR' twice on the reverse and once on the stretcherProvenance: Hotel Drouot, Paris, Vente O’Conor, 7 February 1956; Musée de Petit Palais, Geneva; Sale, Sotheby’s London The Irish Sale, 22nd May 1997, lot 256; Private Collection, IrelandExhibited : Geneva, Petit Palais, Peintures Britanniques du XXe siecle, 1980; Geneva, Petit Palais, Post-Impressionnisme (1880 - 1910), 1/7/80 - 30/9/80; Osaka, and other venues in Japan, Trésors du Petit Palais, Geneve, 1983, no.65; Musée de Pont Aven, Roderic O’Conor 1860-1940, 1984 no.29; London, Barbican Art Gallery, and toured to Belfast, Dublin and Manchester, Roderic O’Conor 1860-1940, 1985, no.31Literature : L’aube du XXe siecle, vol.1: De Renoir a Chagall, Petit Palais, Geneva, 1968, p.41;Julian Campbell, The Irish Impressionists: Irish Artists in France and Belgium 1850 - 1914, National Gallery of Ireland exhibition catalogue, 1984, p.99;Jonathan Benington, Roderic O’Conor, Irish Academic Press, Dublin 1992, pp.83-84,199.€ 150,000 - 200,000Roderic O’Conor had been living and working in Pont-Aven, Brittany for nearly three years when he met Gauguin in 1894, recently returned from his first trip to Tahiti. A friendship formed, and it is clear from Gauguin’s letters that he was expecting the Irishman to accompany him on his return to the South Seas. Although O’Conor declined, the relationship had a far-reaching affect on his life and his art: “… Gauguin’s strength of character and convincing style of talk made a deep impression on the young, or youngish, Irishman…” (Clive Bell, Old Friends, 1956, p. 166).Further to Gauguin’s final departure from France in 1895, O’Conor embarked on a group of nocturnes inspired by the scenery around Le Pouldu on the southern coast of Brittany, and the riverside town of Pont-Aven, 25 kilometres inland. The theme first emerged in an etching, Full Moon on the Coast, and was then developed in several moonlit seascapes painted in gouache, as well as a handful of oil paintings including The Bull and the Moon and A Moonlit Breton Landscape (Benington 1992, p. 199, nos. 81 and 84). These artworks stood apart from O’Conor’s earlier Breton landscapes on account of their greater reliance on the imagination, as if conceived from memory rather than direct observation.In Marine au Clair de Lune we see a clifftop house with a light shining in its windows, overlooking a sailing ship caught in the reflected path of the full moon, a glowing orb half hidden by a cloud at the top of the composition. The close juxtaposition of land and sea, safety and uncertainty, may be a recollection of the house at St Julien, a hamlet of Le Pouldu situated at the mouth of the Laita river, where O’Conor had stayed with his friend Armand Seguin in 1893 and, two years later, the two of them watched as Gauguin spontaneously composed an etching. Writing to Seguin four years later, O’Conor revealed that he had plans for a picture of St Julien, perhaps identifiable with the present work. One of its most striking features is the way its dreamlike quality has been given substance through technical innovation: O’Conor has applied his colours very thickly, making extensive use of the palette knife in order to obtain a richly textured surface. The granular effect of this build-up of pigment is particularly suited to capturing the glimmer of light on the water surrounding the two-masted vessel. Like most of his other moonlit pictures, the present work was most probably begun during the years 1895-98 when O’Conor was living in comparative isolation at Rochefort-en-terre, a hilltop village in the heart of rural Brittany. Unable, or unwilling, to accompany Gauguin to Papeete, he may have chosen this location because it was less visited by artists and tourists than Pont-Aven, more authentically Breton in its preservation of time-honoured religious and cultural practices. Here he had the space and freedom to experiment with new ideas, notably Gauguin’s dictum that the remembered image was a more effective embodiment of ideas and emotions than the observed one. By relying to a greater extent on his memory and imagination, O’Conor arrived at a range of themes that were uniquely personal to him. The mystery of a work such as Marine au Clair de Lune lifts it onto a Symbolist plane, recalling O’Conor’s association with writers such as Alfred Jarry, Léon-Paul Fargue and Charles Morice. And like Wordsworth who defined poetry as emotion recollected in tranquillity, here O’Conor seems to evoke the experiences that had meant the most to him just a few years earlier – moonlit walks, the proximity of the sea and windswept cliffs, the stimulating company of fellow artists, and a warm house to return to at the end of the day. Jonathan Benington, February 2022
A collection of various wines and ports to include Rochas Ruby Port 1964, Allesverlorien Port 1975, Six Cotes Du Ventoux 1987, a bottle of Charles Renoir Chablis 2013, a bottle of Margaux Barton and Guestier 1998, a bottle of Sainsbury's Retsina of Attica, two bottles of Rizling Rynsky 1996, a bottle of Italia Prosecco, a bottle of Veuve Du Vernay and other bottles, approximately 60 bottlesCondition report: Majority of seals good, levels at high neck
DURET (THEODORE)Die Impressionisten, LIMITED TO 1000 COPIES, this copy number 511, half-title, title printed in red and black, 7 ORIGINAL ETCHED PLATES BY RENOIR (3), CEZANNE, MORISOT, PISSARRO, AND GUILLAUMIN, and P.M. Roy after Sisley, captioned tissue guards, other illustrations in the text, the frontispiece loose, illustration by Pissarro window-mounted on front free endpaper, original cloth, worn, 4to, Berlin, Bruno Cassirer, 1909This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A collection of vintage gilt metal jewellery, a 1940's 10mm wide chain link bracelet and necklace, necklace 44cm; a rope of gilt metal 6mm pierced beads, 120cm; 25mm wide bracelet with engine turned detail; yellow metal necklace with five 25mm flower heads each set with a square red cabochon, 40cm; Austr-Hungarian style sautoir with topaz coloured paste, floral and leaf detail on flat S link chain, 42cm; 36cm chain necklace; 75cm chain necklace; Renoir copper bracelet with five Comedy/Tragedy masks, 25mm wide, 17cm;45cm gilt metal necklace with smoky coloured beads, two pairs of cloak clips with simulated pearls, brooch fittings and double chain connectors.
Original vintage magazine Fortune December 1938 Christmas Volume XVIII Number 6 featuring the cover by Antonio Petruccelli (1907-1994) depicting two workers welding large red star. The volume covers various topics with in-depth articles on General Motors with a map of the world by Richard Edes Harrison showing the locations of General Motors plants; The Debutante with paintings by Georges Schreiber; Business and Government articles on the American Dream; U.S. Treasury with stunning illustration and photographs by Mettee-Frittita; The Coca-Cola industry with photographs of the drink production in offices and plants, automatic dispenser, loading trucks of Cola crates, and sale places at the filling station, Radio City bottle bar, and department store; Will Hays with a caricature by Sam Berman and photo stills from films; Museum of Modern Art on the popularity of van Gogh art, with portraits of the president, trustee, museum directors, treasurer, construction of the building and packing of the painting, with twelve Modern Paintings with captions by Alfred H. Barr Jr - Cezanne, Renoir, van Gogh, Henri Rousseau, Paul Gauguin, Giorgio de Chirico, Pablo Picasso, Bombois, Salvador Dali, Orozco, Peter Blume, Grant Wood; Arbitration; and Great Britain's Europe - with photographs of Adolph Hitler's Mein Kampf and him coming to total power, Reichstag on fire, suppression of German radicals, degradation and terror for Germany's Jews, with a map of Nazism influence and spread throughout Europe, Mussolini and Goering on a promenade, and Hitler getting Vienna. The issue presents advertising painting by Hugh Terry for Bankers Trust Company, Lentheric advertisement by MAC, Bell and Howell motion picture camera advertisement by M.R. Moore, and various advertisement for whiskey and bourbon brands - Vat 69, Old Grand-Dad, Four Roses, Martell, Johnnie Walker, Old Crow, Kentucky Tavern, Gordon Rouge champagne, cognac Monnet, Harvey's cream sherry, Old Forman, Schenley's Belmont Kentucky Stragith Bourbon Whiskey. Travel advertisement for American Republics Line, Furness Prince Line, Italian Line to Egypt, Canadian Pacific. Car and vehicle advertisement by International Trucks, Cadillac, Oldsmobile, Packard, and Dodge; and various product advertisement - Goodrich rubber, Royal typewriter, Burberrys Overcoats, Cartier luxury jewellery, Gillette shaver, Leica camera, Cine-Kodak camera, Cuban Havana cigars and Alfred Dunhill cigars Montecristo, and Tobaccoland's finest gift - Lucky Strike cigarettes on the back cover. Soft paperback binding, volume consists of 186 pages. Fortune is an American business magazine, it was founded in 1929 by Time magazine co-founder Henry Luce. Good condition, paper skimming on the cover and the spine, light browning on the cover. Country of issue: USA, designer: A. Petruccelli, size (cm): 35.5x29, year of printing: 1938. For other avant-garde publications please visit our website https://antikbarbooks.co.uk/
After Pierre-Auguste Renoir (1841-1919)'Baigneuse debout, a mi-jambes', etching, with provenance label to the reverse, 18cm x 11cmCondition report: Overall ok, with minimal display wear and marks to the frame as expected. Minor foxing and blemishes. Please note we have not removed this piece from the frame to examine.
French school; late 19th century."Bucolic scene".Oil on canvas.It preserves a period frame with faults in the carving.It has an illegible signature.Measurements: 25 x 43 cm; 41 x 46 cm (frame).Landscape of idyllic character in which a woman is accompanied by several children. She is overwhelmed by a landscape of great magnitude that opens in the centre, leaving a space that allows to see a landscape in depth. The author has thus combined two completely different views of the landscape, merging them into a single image in a coherent and harmonious manner. The author shows great interest in the characteristics and qualities offered by the landscape.Both the aesthetic and thematic treatment of the work indicate that he was a painter in contact with Impressionist trends. Although at first it may have been a scene with a pastoral or gallant theme, so much in vogue in the late 18th century, the artist has focused his interest on a specific moment in reality, thus linking himself to realist trends and to the Impressionists' interest in capturing the moment and defining its atmosphere. In terms of aesthetics, the use of a rapid, vibrant brushstroke, together with the play of light already mentioned, link the work to Impressionism, making it close to scenes by Renoir, who worked with great interest on the reflection of light on the skin and its qualities. In short, the characteristics of this work bring together various trends that developed in France in the early 19th century, making the country, and especially the city of Paris, one of the most important cultural centres of the period.
A RED SANDSTONE HEAD OF VISHNU WITH A MITER CROWNNorthern or Central India, 10th-11th century. Exquisitely carved with a serene expression, marked by heavy-lidded, almond-shaped eyes below elegantly arched eyebrows, an aquiline nose, and full lips forming a subtle smile, flanked by elongated ears with circular earrings, the head surmounted by a tall and elaborately carved miter crown.Provenance: From the collection of Richard Nathanson. Richard Nathanson (d. 2018) began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir, and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: Excellent condition, commensurate with age. Extensive wear and losses, minor nicks, signs of weathering and erosion, minor structural fissures, remnants of soil.Weight: 4,062 (excl. base)Dimensions: Height 26 cm (excl. base) and 29.5 cm (incl. base)Mounted on an associated wood base. (2)Expert's note: Despite the 10th-11th century dating, the present lot compares favorably to several sandstone heads from the Gupta period, particularly when looking at the distinctively formed eyes. Therefore, this author sees a possibility of this sculpture being considerably older, up to the late Gupta period, 6th-7th century.Literature comparison: Compare a sandstone head of Vishnu, with similarly carved facial features, especially the eyes, dated to the Gupta period, in the collection of the Cleveland Museum of Art, accession number 1969.57. Compare also a red sandstone head of Vishnu wearing a similar crown, dated c. 6th century, at Bonhams New York, 18 March 2013, lot 38. Auction result comparison: Compare a related red sandstone head of Vishnu at Sotheby's New York in Indian & Southeast Asian Works of Art on 19 March 2014, lot 37, sold for USD 12,500.
A TIBETAN-CHINESE GILT COPPER-ALLOY ARM OF A BODHISATTVA, LATE MING TO EARLIER QING17th-18th century. The hand held in karana mudra, the lower arm and wrist applied with an elaborate bracelet decorated with vajras and strings of beads. The interior with a wood core.Provenance: Collection of Richard Nathanson. Richard Nathanson (d. 2018) began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir, and Bonnard. He produced BBC documentaries and publications on several of these artists.Condition: The fragment in good condition, commensurate with age. Small nicks and dents, light scratches, minor losses, few structural cracks.This gesture, also known as tarjani mudra, expels demons, and removes obstacles such as sickness or negative thoughts. It is performed by raising thumb, index and little finger, thereby folding the remaining fingers.Weight: 2,574 g (incl. stand)Dimensions: Length 36.5 cmMounted to an associated metal stand. (2)Auction result comparison: Compare a related but larger (56.5 x 52.5 cm) gilt-bronze arm of Buddha, dated to the Ming dynasty, at Sotheby's Hong Kong in EYE/EAST on 21 May 2020, lot 5001, sold for HKD 275,000. 明末清初漢藏鎏金銅佛手殘件 十七至十八世紀。手施説法印，下臂和手腕上飾有精緻的飾品，上有金剛杵和串珠。佛手內部為木芯。 來源：Richard Nathanson收藏。Richard Nathanson (2018年去世) 於1966 年在蘇富比開始了他的職業生涯，隨後加入了印象派部門。 他於 1970 年離開，成為一名獨立的藝術顧問，並特別參與了 Sisley、Modigliani、Rouault、Renoir 和 Bonnard的項目。 他為其中幾位藝術家製作了 BBC 紀錄片和出版物。品相：殘件品相良好，與年齡相稱。 小劃痕和凹痕，輕微的劃痕和缺損，少量結構裂縫。 重量：2,574 克 (含底座) 尺寸：長 36.5 厘米 金屬底座 (2) 拍賣結果比較：比較一件相近但更大 (56.5 x 52.5 厘米) 的明代銅鎏金佛手臂，見香港蘇富比EYE/EAST 2020年5月21日lot 5001, 售價HKD 275,000。
Suzanne Valadon (French 1865-1938) La Terrasse du Chateau de St Bernard Pencil on wove paper Signed with initials (lower right) 20 x 16.5cm (7¾ x 6¼ in.) A study for the finished oil of the same title by Suzanne Valadon (1865-1938), [see Marius Mermillon, 'Valadon', pl.39, Paris, Braun et Cie, 1953]. She was born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France, into relative poverty. She became an artist's model as a teenager, famously appearing in works by, amongst others, Renoir and Toulouse Lautrec, the latter giving her the nickname of Suzanne, after Susannah and the Elders, for her perceived preference for working with older artists. Suzanne was encouraged by Degas to develop her own art, eventually becoming the first female painter admitted to the Société Nationale des Beaux-Arts, In 1894. Noted in particular for her female nudes and female portraits, her proto-feminist eye was thought to be influenced by her own experience as the observed model. She was also the mother, at a very young age and illegitimately, of the painter Maurice Utrillo. Condition Report: study for a the finished oil of the same title by Suzanne Valadon (1865-1938), [see Marius Mermillon, 'Valadon', pl.39, Paris, Braun et Cie, 1953]. She was born Marie-Clémentine Valadon at Bessines-sur-Gartempe, Haute-Vienne, France, into relative poverty. She became an artist's model as a teenager, famously appearing in works by, amongst others, Renoir and Toulouse Lautrec, the latter giving her the nickname of Suzanne, after Susannah and the Elders, for her perceived preference for working with older artists. Suzanne was encouraged by Degas to develop her own art, eventually becoming the first female painter admitted to the Société Nationale des Beaux-Arts, In 1894. Noted in particular for her female nudes and female portraits, her proto-feminist eye was thought to be influenced by her own experience as the observed model. She was also the mother, at a very young age and illegitimately, of the painter Maurice Utrillo, Condition Report Disclaimer
21 Bände Kunst und KünstlerIllustrierte Monatsschrift für bildende Kunst, Redaktion Heilbut, Flaischlen, Scheffler, Berlin bei Bruno Cassirer, Jahrgänge I, II (2 x), III, IV (2 x), VI (2 x), VII, VIII, IX (2 x), X, XI, XII, XVIII, XXI, XXIV, XXVI, XXVII, XXX sowie Einzelhefte der Jahrgänge XI (Hefte I, III, VIII, IX, XII), XIII (Hefte VIII, XI) und XIV (Heft VII), von 1903-1931, Formate Lex. 8° und 4°, die Exemplare enthalten unter anderem zwei Holzschnitte von Eduard Manet, eine Radierung von Auguste Renoir, 13 Lithografien von Ernst Barlach, sieben Lithografien von Max Beckmann sowie Grafiken von Paul Baum, Lovis Corinth, Max Liebermann, Max Slevogt, usw., meist Halbledereinbände mit goldgeprägten Rücken und Titeln, unterschiedliche Erhaltungen mit Altersspuren, unkollationiert.
VIER SILBERBARREN - 900er Silber (Gesamtgewicht 60 g), viereckige Form mit Medaillenausrichtung und unterschiedlichen Motiven. Auguste Renoir: 5 Euro, 2009, Le déjeuner des canotiers; 2 x Edouard Manet: 1/4 Euro, 2008, Olympia und Edgar Degas: 1/4 Euro, 2007, L´étoile, . G. je 15 g, D. 36,6 mm.
§ PAUL LUCIEN MAZE (FRENCH 1887-1979) GARDENING Signed lower right, pastel on buff paper(26cm x 36.5cm (10.25in x 14.25in))Provenance: Artist's studio sale.Footnote: Note: Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Théodore Duret. Die Impressionisten Pissarro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Zweite Auflage. Mit zwei Originalradierungen von Renoir und einem Holzschnitt von Cézanne. Berlin, Bruno Cassirer 1914. Mit drei Originalgraphiken und zahlreichen Abbildungen im Text und auf Tafeln. Illustrierter Originalhalbpergamentband mit Rückenvergoldung.Mit den beiden Radierungen »Kinderbild« und »Zwei Mädchen« von Renoir (Deltail 6 und 22) und dem Holzschnitt »Hockender Akt« von Beltrand nach Cézanne.23,4 : 18,4 cm. 159, [1] Seiten, 3 Graphiken, 48 Tafeln. - Einband und Schnitt fleckig, Ecken und Kapitale angeplatzt.
Guernsey 'Renoir' advertising interest - a rare 1980s cardboard advertising counter top or floor standing display advertising Holidays in Guernsey, the central image of a painting by Renoir, 'Enfants au Bord de la Mer, Guernsey. Pierre Auguste Renoir, Museum of Fine Arts, Boston', the top of display with ' HOLIDAY GUERNSEY ', in green, with image of butterfly on daisy besides, the reverse with fold-out easel back, 30 x 20¼in. (76.2 x 51.4cm.).
Reg Miller (1931-1998) Artwork; black mixed media in relief with taped label verso, approx. 60cm x 60cm (ARR)BiographyReg Miller R.C.A 1931- 1998A talented painter who’s work was exhibited alongside many notable artists. Included in the Gallery Group Exhibition held at the Leicester Galleries Bloomsbury, London in the summer of 1966 and The New Year Exhibition of paintings, Drawings and Sculpture by 19th and 20th Century Artists in the following January (1967). A collage by the artist entitled Leda was exhibited alongside a watercolour by Paul Nash and other exhibitors including his brother John Nash, Augustus John, Walter Sickert, Ruskin Spear, Duncan Grant, Renoir and Pissarro to name but a few.Reg also exhibited at the Royal Academy Summer Exhibition and designed costumes for film and theatre as well as sets for several productions.He was a well respected teacher of painting and Lecturer in the History of Art.
Pierre-Auguste RENOIR (1841 - 1919). "Sur la plage".Größe der Druckplatte 11,5 cm x 7, 5 cm. Radierung. In der Platte signiert.Objekt kann versendet werden.Pierre-Auguste RENOIR (1841 - 1919). "Sur la plage".Printing plate size 15,5 cm x 7, 5 cm. Etching. Signed on the plate.Object can be shipped.
Jahrhundertwende - - Auguste Renoir. (1841 Limoges - 1919 Cagnes-sur-Mer b.Nizza). La vie & l'oeuvre de Pierre-Auguste Renoir. 1 Radierung, 1 farb. Lithogr., 51 Heliogravüre auf Kupfer u. 175 Textabb. in Schwarz. Paris, Chez Ambroise Vollard, 1919. 261 S., 10 Bl. 4°. Illustrierter Original-Umschlag. Mahé III 697. Johnson 153. - Eins von den 525 nummerierten Exemplaren auf beau papier teinté (GA 1000). Original-Ausgabe mit einer Radierung von Pierre-Auguste Renoir im Frontispiz, wie immer mit der gestempelten Signatur. Vorsatz mit handschriftlicher Widmung von Vollard an die Malerin u. Kupfstecherin (Henriette) Tirman (1875-1952). - Die ORadierung von Renoir La baigneuse ist im Buch als Femme nue bezeichnet. - Stellenweise etwas braun- bzw. stockfleckig, sonst sauber und in sehr gutem Zustand. - Sehr selten mit der Widmung von Vollard. 1 original etching, 1 coloured lith., 51 photogravures and 175 illustr. - One of the 525 numbered copies on papier teinté (full edition: 1000). With an original etching by Renoir, as always with stamped signature. Endpaper with handwritten dedication of the author to the paintress Henriette Tirman. - In the book Renoir's original etching La baigneuse is referred to as Femme nue. - In some places somewhat brownstained or foxed, otherwise clean and in very good condition. - Very rare with the dedication by Vollard.
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