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Aesthetic style still life study with fan and blue and white Chinese vase, oil on canvas, 24.5 x 29 cm  requires cleaning - yellowed

Oliver Clare (British, 1853-1927) Still life of grapes, white currants, raspberries and plumsoil on canvassigned30 x 22cm***CONDITION REPORT***Oil on canvas relined some years ago, canvas remains tight, paint might need a light clean but no real faults noted, housed in a later gilt scroll frame which is in good order but has its inner velvet liner lifting away, label verso for N.R. Omell of Duke Street.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. 

§ § Basil Jonzen (British, 1913-1967) Still life of Magnolia blossom in a glass vaseoil on canvassigned and dated '3651 x 40.5cm***CONDITION REPORT***Oil on original canvas in slightly negelected but untouched condition, paint looks dirty and would benefit from a clean, but otherwise no real faults, under glass in a green overpainted frame that is probably the original, small label with artist name on it verso together with a Christie's stencil number 970HC.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. 

Still life - Fish, eggs and tomato, oil on canvas, Spanish School, 18th C. (4th quarter), signed JOSEPH...(?) and dated 1870, part of the signature is unreadable, Dim. - 69 x 86 cm

Dutch School, Still life with rummer, a silver goblet, a wanli dish on a table, oil on panel.

Dutch School, ca. 1900, Flat still life with insects and a check mark on a marble plinth. Oil on paper on panel.

Dutch School, ca. 1920, Still life of roses in a vase, signed "MvR" (lower left), oil on canvas.60 x 40 cm.

North European School, first half of the 20th century. A still life of flowers in a vase, indistinctly signed "E. Hamilton-Schluter" (?), and dated "25", (lower right), oil on canvas.50 x 60 cm.

Galician school of the 18th century."Saint Sebastian".Carved wood. With remains of polychromy.Measurements: 89 x 46 x 22 cm.In this work the saint is represented tied to the tree, although the arrows stuck in his body cannot be seen. Young and athletic in appearance, as is normal in the representation of Saint Sebastian, he is looking straight ahead, accepting his martyrdom with serenity and faith.Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of the emperor Diocletian (late 3rd - early 4th century). Denounced because he exhorted his friends Mark and Marcellinus to remain steadfast in their faith, by order of the emperor he was tied to a post in the centre of the Field of Mars, and served as a live target for the archers who shot him. But he did not die for it. The widow Irene, who wanted to raise his body for burial, noticed that he was still breathing, bandaged his wounds and saved his life. After he was cured, he reappeared before Diocletian to reproach him for his cruelty towards the Christians. He was then scourged, beaten to death in the circus and his corpse was thrown into the Maximian sewer. Shortly afterwards, Saint Sebastian appeared to Saint Lucila in her sleep to reveal to her the location of his remains, and asked her to bury him in the catacombs.

RINCKER GEERTRUIDA (1923), sign. l.l., Still life, canvas 70 x 60 cm.RINCKER GEERTRUIDA (1923), ges. l.o., Stilleven, doek 70 x 60 cm.

KRUIJDER HERMAN (1881-1935), sign. l.m., Still life with jugs, panel 15 x 23 cm. Provenance: Art Gallery de Bois Harlem, Christie's 2002 Amsterdam, PICTURES WATERCOLOURS AND DRAWINGS INCLUDING DUTCH TOPOGRAPHICAL PICTURESKRUIJDER HERMAN (1881-1935), ges. l.m., Stilleven met kruik, paneel 15 x 23 cm. Herkomst: Kunsthandel de Bois Haarlem, Christie's 2002 Amsterdam, PICTURES WATERCOLOURS AND DRAWINGS INCLUDING DUTCH TOPOGRAPHICAL PICTURES

MATSER, G. DE, signed l.r.,still life with, among other things, flowers in vase and tin can on carpet, canvas 61 x 51 cm.MATSER, G. DE, ges. r.o., stilleven met tinnen kan op tapijt, doek 61 x 51 cm.

Unkwown, uncl. sign. l.r., Still life with rozes, canvas 44 x 29 cm.Onbekend, onduid. ges. r.o., Bloemstilleven met rozen, doek 44 x 29 cm.

FRANKOT ROEL (1911-1986), sign. and dated. '49 l.r., Still life with pears, canvas 30 x 40 cm.FRANKOT ROEL (1911-1986), ges. en gedat. '49 r.o., Stilleven met peren, doek 30 x 40 cm.

Dam Isselt, van Lucie. (1871-1949) sign. l.B Flower still life, panel 24.5 x 20 cm. Verso also painted probably a view of Veere.DAM ISSELT VAN LUCIE (1871-1949) ges. l.o. bloemstilleven, paneel 24.5 x 20 cm. Verso ook beschilderd waarschijnlijk gezicht op Veere.

Hofs,with signature and dated. '16, Still life with flowers, canvas, 45 x 56 cm.Hofs, met sign. en gedat. '16, Stilleven met bloemen, doek, 45 x 56 cm.

Broer Henk (1904-1986), signed r.o. still life, canvas 100 x 79 cm.BROER HENK (1904-1986), ges. r.o. bloemstilleven, doek 100 x 79 cm.

Rickers, H., signed, still life with grapes and walnuts, panel 24 x 28 cm.RICKERS, H., ges. l.o., stilleven met fruit en walnoten, paneel 24 x 28 cm.

HENGST DEN JAN (1904-1983), still life, sign. low left, 50 x 60 cm.HENGST DEN JAN (1904-1983), stilleven, ges. l.o, 50 x 60 cm.

Unknown, VAN DONGEN? l.l., Flower still life, canvas 30 x 39 cm.Onbekend, VAN DONGEN? l.o., Bloemstilleven, doek 30 x 39 cm.

GERNER JOLANDE (1955), verso sig. and dat. '87 Still life with vase and lemon, canvas, 120 x 100 cmGERNER JOLANDE (1955), verso ges. en gedat. '87 Stilleven met vaas en citroen, doek, 120 x 100 cm

NIEWEG JAAP (1877-1956), mono. and dated. 1951 m.r., Still life with flowers, canvas 35 x 25 cm.NIEWEG JAAP (1877-1956), gemon en gedat 1951 m.r., Bloemstilleven, doek 35 x 25 cm.

SPOEL VAN DER HENS (1904-1987), sign. l.l., Still life with flower and fruit, watercolour 49 x 64 cm.SPOEL VAN DER HENS (1904-1987), ges. l.o., Stilleven met fruit en bloem op tafel, aquarel 49 x 64 cm.

SARAH ARMSTRONG - JONES - STILL LIFE - 7'' X 4''

SARAH ARMSTRONG - JONES - STILL LIFE II - 8'' X 4''

English School - Still life with vase of flowers, oil on board, unsigned, 50 x 40 cm, framed and glazed

Three paintings and a print to include: Dutch School - Still Life with Urn of Flowers, oil on canvas panel, 32 x 24.5 cm; G/C.G. Chichester - 'H.M.S. Pilot Training Brig off Eddystone', watercolour and pencil on paper, signed and titled 'G.G.C, H.M.S. Pilot, April 95', 17 x 31 cm; Marion Broom - Vase of Flowers, watercolour on paper, signed lower right, 27 x 33 cm; 'Sinking of the Lusitania', print, framed and glazed (4)

Four framed works to include: Rural Landscape (20th century), oil on canvas, signed lower left, approx. 60 x 90 cm, in gilt frame; George Sidney Hunt (1856-c.1917), Lord Nelson, mezzotint in colours, signed in pencil and blind stamped below, 'published 1921 by the Museum Galleries, 26 Museum Street, London' in print above, 12.5 x 10 cm; 20th century floral still life, oil on canvas, signed 'Paterson' lower right, 20.5 x 25.5 cm; and one other framed print After 'The Haywain' by John Constable (1776-1837) (4)

Nine unframed artworks to include: Henry Charles Brewer (1866-1950) - Dockland scene, signed and dated '1907' lower left, artists names inscribed verso, 25.5 x 35 cm; Henry Hundley - Still life with grapes, oil on canvas board, signed lower right, 54 x 74 cm; After Henri de Toulouse-Lautrec - 'Mademoiselle Marcelle Lender, en buste', pastel and paint on card; Grecian woman holding urn, pencil and chalk, indistinctly inscribed 'Benneau?, new mt' verso; wall mounted ceramic sculpture of two figures holding lilies, unsigned, 31 x 45 cm; Still life with vase of flowers, oil on canvas, unsigned; 'Saw Mill' pencil and watercolour, titled below, dated '1876?'unsigned; Nude study, pencil on paper, indistinctly signed and dated '43'; R. Kingman - 'Free Jazz', oil on board, signed lower right, 60 x 50 cm, framed (9)

Still Life with Fruit and Dinnerware (19th century school) - oil on canvas, indistinctly monogrammed and dated lower left, 51 x 76.5 cm, gilt framed

Mendoza (c.19th century) - Still Life with Vase of Flowers, oil on canvas, signed lower right, with label inscribed 'Charles John Smith of Elmhurst, Born 1804 - died 1874 - Painted by Lowes Dickinson, 1871', 92 x 71 cm, in antique carved foliate scroll frame

Group of framed works to include: Still life with flowers (19th Century), signed 'J. C. D. Bruyn' lower right, watercolour on paper, 20 x 26 cm, in inlaid frame; Watercolour coastal scene, indistinctly signed lower left, 8 cm diameter; together with 'La Mde de Creme' print in colours; two reproduction prints after Paul Brown; framed printed couple silhouette and; five glass place mats with hand-coloured prints and lithographs of flowers (11)

To be viewed at and collected from Nibley House GL11 6DL:Pastel study - Still life, Summer Flowers by Jyllian Rhys-Jones, 64cm x 51cm

John Christoper-Stone (b.1923) - Four still life studies in two frames, pen and pencil on paper, both signed below, largest: 20 x 14 cm (2)

Three still life watercolour paintings including gilt framed flowers example signed M.E Ryder. Also pair of fruit still life's signed H. Whelpdale.

A late 19th/early 20th century oil, still life of fruit. Signed indistinct. 19cm x 30cm.

Cate Barnett, oil on board still life study

J. Bywaters, still life study signed watercolour

An oil on board, still life study

An oil on board still life study of flowers; a watercolour study depicting a horse and cart together with a seascape print

A framed and glazed blue and white miniature Oriental vase; a watercolour still life study of flowers and an oil on canvas still life study of flowers

SEVEN 20TH CENTURY OILS AND WATERCOLOURS, comprising Harry Percy Clifford (active 1898-C1938) a street scene depicting shops and town hall, approximate size 9.5cm x 13cm, two Betty Holladay winter watercolours, largest approximately 29cm x 40cm, oval portrait of a female figure initialled J.E.M, an unsigned floral still life study and two unsigned oils depicting a Jack Russell and another terrier? both unframed with some losses

James Hardy Jnr, watercolour, Still life study of dead game and fruit, signed, 21 x 31cm.

Marguerite Charrier-Roy (French 1870-1964), oil on panel, Still life of Marigolds and Daffodils in a basket, signed, 37 x 53cm

George R Reiss, (20th century), after, a Ltd Ed print, still life, signed and dated 1942, and num 6/53, 30 x 25cm, mounted framed and glazed, 41 x 35cm

(20th century), an oil painting, still life fruit, 60 x 90cm, ornate framed, 80 x 110cm

GOLINA GRIGORYEVA' Still Life with Fruit on a Table', oil on canvas, 61cm x 65cm, signed framed.

ROYAL CROWN DERBY VASES, a pair, 19th century hand painted with botanical still life with blue ground and gilt highlights, 23cm H. (2)

Karl Hofer 1878 Karlsruhe - 1955 Berlin Birnen auf Porzellanteller. Um 1930. Öl auf Malpappe. Wohlert 935. Links unten monogrammiert (in Ligatur). 30,5 x 39,8 cm (12 x 15,6 in). [KT]. • Hervorragende Provenienz aus der Sammlung Konrad und Annalise Hager, Hamburg, mit dem Künstler befreundetes Sammlerpaar. • Verweis und Hommage an Cézanne, den Meister des Früchte-Stilllebens. • Hofers Stillleben faszinieren durch ihr kompositorisches und außergewöhnlich nuanciertes farbliches Arrangement. • Werke Karl Hofers befinden sich in renommierten deutschen sowie internationalen Sammlungen, darunter die Bayerischen Staatsgemäldesammlungen, München, das Museum of Modern Art, New York, sowie die National Gallery of Art, Washington, D.C. PROVENIENZ: Sammlung Lily Grage geb. Curtz. Sammlung Konrad und Annalise Hager, Hamburg. Privatsammlung USA (aus Familienbesitz erhalten). LITERATUR: A. B. Rasmussen, Kopenhagen, Auktion 95, 1985, S. 6, Los 23 (m. Abb.). Kunstpreisverzeichnis, 13.1957/58, S. 330. Aufrufzeit: 10.12.2022 - ca. 19.10 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N), Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Hofer 1878 Karlsruhe - 1955 Berlin Birnen auf Porzellanteller. Um 1930. Oil on cardboard. Wohlert 935. Lower left monogrammed (in ligature). 30.5 x 39.8 cm (12 x 15.6 in). [KT]. • Excellent provenance, from the collection of Konrad and Annalise Hager, Hamburg, who were close frineds of the artist. • An homage to Cézanne, the master of the fruit still life. • Hofer's still lifes are fascinating for their composition and the unusual nuances. • Karl Hofer's works are in renowned German and international collections, among them the Bayerische Staatsgemäldesammlungen, Munich, the Museum of Modern Art, New York, and the National Gallery of Art, Washington, D.C. PROVENANCE: Collecion Lily Grage neé Curtz. Collection Konrad and Annalise Hager, Hamburg. Private collection USA (obtained from the family). LITERATURE: A. B. Rasmussen, Copenhagen, auction 95, 1985, p. 6, lot 23 (with illu.). Kunstpreisverzeichnis, 13.1957/58, p. 330. Called up: December 10, 2022 - ca. 19.10 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N), artist´s resale right compensation is due.

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Stillleben: Blumen in blauer Vase. 1936. Öl auf leinenstrukturiertem Papier, auf Pappe aufgezogen. Jawlensky/Pieroni-Jawlensky 2046. Links unten monogrammiert und rechts unten datiert. Verso auf der Pappe signiert, datiert „1936 IX“ und bezeichnet 'N 4' sowie von fremder Hand bezeichnet. 17,2 x 12,7 cm (6,7 x 5 in). [AM]. • Ausdrucksstarkes, lichtdurchflutetes Stillleben in nuancierter Farbigkeit. • Markante Inszenierung in mitreißendem Duktus. • Entstehung gleichzeitig mit der Serie der Meditationen. PROVENIENZ: Clara Gans, Kronberg / Dornach (1936 vom Künstler direkt erworben). Privatsammlung (durch Erbschaft von der Vorgenannten, bis 1959). Galerie Thomas, München (1978). Privatsammlung Rheinland-Pfalz (bis 1981: Wolfgang Ketterer). Galerie Wilhelm Großhennig. Privatsammlung Europa (bis 1999: Christie's London). Privatsammlung Italien/Frankreich (1999 vom Vorgenannten erworben). AUSSTELLUNG: Galerie Thomas, München, Alexej Jawlensky, Zeichnungen, Aquarelle, Miniaturen, Bilder, Februar - März 1978 (Kat. Nr. 84, Abb. S. 3). LITERATUR: Galerie Wolfgang Ketterer München, Auktion 47, 1.6.1981, Los 676 mit Farb-Abb. Christie´s London, Live Auction 6168: German Pictures, 7.10.1999, Los 139. Aufrufzeit: 10.12.2022 - ca. 19.07 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Stillleben: Blumen in blauer Vase. 1936. Oil on canvas-structured paper, laid on cardboard. Jawlensky/Pieroni-Jawlensky 2046. Lower left monogrammed and lower right dated. Verso of the cardboard signed, dated '1936 IX“ and inscribed 'N 4' as well as inscribed by a hand other than that of the artist. 17.2 x 12.7 cm (6.7 x 5 in). [AM]. • Expressive, light-flooded still life in nuanced colors. • Striking depiction in an exciting duct. • Made the same time as the series of the Meditations. PROVENANCE: Clara Gans, Kronberg / Dornach (acquired directly from the artist in 1936). Private collection (inherited from the above, until 1959). Galerie Thomas, Munich (1978). Private collection Rhineland-Palatinate (until 1981: Wolfgang Ketterer). Galerie Wilhelm Großhennig. Euroipean private collection (until 1999: Christie's London). Private collection Italy/France (acquired from the above in 1999). EXHIBITION: Galerie Thomas, München, Alexej Jawlensky, Zeichnungen, Aquarelle, Miniaturen, Bilder, February - March 1978 (cat. no. 84, illu. on p. 3). LITERATURE: Galerie Wolfgang Ketterer Munich, auction 47, June 1, 1981, lot 676 with color illu. Christie´s London, Live Auction 6168: German Pictures, October 7, 1999, lot 139. Called up: December 10, 2022 - ca. 19.07 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Cuno Amiet 1868 Solothurn - 1961 Oschwand Postkarte: Berglandschaft mit Skifahrer. 1911. Buntstiftzeichnung und Tusche. Oben mittig signiert. Im unteren Rand bezeichnet 'Einen fröhlichen Neujahrsgruss vom Strelapass. 30. Dezember 1911'. Auf einer Blanko-Postkarte. 14,5 x 9,4 cm (5,7 x 3,7 in). Postkarte an Prof. Dr. Heinrich Ganter aus Davos, Poststempel 31.12.11. Das Werk ist unter der Nummer SHG 883 c in der Sammlung Hermann Gerlinger registriert. • Eine der äußerst selten angebotenen Künstlerpostkarten Amiets. • Treffsicher komponiertes Zeitzeugnis. • Der Mathematiklehrer Prof. Dr. Heinrich Ganter prägt als Präsident des Aargauischen Kunstvereins und Mitglied progressiver Künstlerverbände die schweizerische Kunstszene der Epoche. PROVENIENZ: Prof. Dr. Heinrich Ganter (1848–1915), Aarau (seit 1911). Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032, seit 2010: Villa Grisebach). AUSSTELLUNG: Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Villa Grisebach, Berlin, Auktion 28.11.2010, Los 602. Die Künstlerpostkarten sind beredtes Zeitzeugnis und eröffnen uns sowohl Einblicke in die künstlerische Entwicklung der Künstler als auch in ihr gesellschaftliches Leben. So folgt auch Cuno Amiet der schönen Tradition, zum Jahreswechsel Grüße an Freunde und Bekannte zu verschicken. Damit fügt er sich ein in die Reihe namhafter Künstler, darunter alle der Künstlergruppe 'Brücke', die künstlerisch gestaltete Postkarten als ideales Kommunikationsmittel auch zu Förderern und Sammlern für sich nutzen. Sie dienen als Status quo der Arbeit der Künstler, sind perfektes Beispiel der Methode des spontanen Erfassens und einer unverfälschten unmittelbaren Wiedergabe. Die Postkarten werden zu einer Art von Visitenkarte und stehen für ein modernes, erfolgsorientiertes Netzwerken. Mit der in schnellen Strichen eingefangenen schweizerischen Winterlandschaft, in der zwei unbeschwerte Skifahrer ihre Schwünge ziehen, hält sich Cuno Amiet bei Prof. Dr. Heinrich Ganter, dem Präsident des Aargauischen Kunstvereins, in Erinnerung. Dieser bereits 1860 gegründete und bis heute bestehende Kunstverein gehört zu den ältesten und größten Kunstvereinen der Schweiz. Ziel des Vereins ist es, eine umfangreiche Sammlung neuerer schweizerischer Kunst aufzubauen. Das Aargauer Kunsthaus besitzt heute mehrere Bilder aus der für Amiets Schaffen so wichtigen Zeit zwischen 1905 und 1913. [SM] Aufrufzeit: 10.12.2022 - ca. 17.22 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONCuno Amiet 1868 Solothurn - 1961 Oschwand Postkarte: Berglandschaft mit Skifahrer. 1911. Colored crayon drawing and India ink. Signed in upper center. Bottom margin inscribed 'Einen fröhlichen Neujahrsgruss vom Strelapass. 30. Dezember 1911'. On a blank postcard. 14.5 x 9.4 cm (5.7 x 3.7 in). Postcard to Prof. Dr. Heinrich Ganter from Davos, postage stamp December 31, 11. The work is registered in the Collection Hermann Gerlinger under the number SHG 883 c. • One of Amiet's extremely rare artist postcards. • Remarkable comtemporary document. • As president of the 'Aargauischer Kunstverein' and member of progressive artist associations, the mathematics teacher Prof. Dr. Heinrich Ganter was an influential figure of the contemporary Swiss art scene. PROVENANCE: Prof. Dr. Heinrich Ganter (1848–1915), Aarau (since 1911). Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032, since 2010: Villa Grisebach). EXHIBITION: Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Villa Grisebach, Berlin, auction on November 28, 2010, lot 602. The artist postcards are eloquent testimony to the times and provide us with insights into both the artist’s development and their social life. Thus, Cuno Amiet also follows the beautiful tradition of sending greetings to friends and acquaintances at the turn of the year. In doing so, he joins the ranks of renowned artists, including all of the 'Brücke' artists, who used artistically designed postcards as an ideal means of communication, also with patrons and collectors. They serve as a status quo of the artists' work, are perfect examples of the method of spontaneous capture and unadulterated immediate reproduction. The postcards become a kind of business card and stand for modern, success-oriented networking. Cuno Amiet made the Swiss winter landscape with two skiers captured in quick strokes for Prof. Dr. Heinrich Ganter, the president of the ‘Aargauischer Kunstverein’. This art association, founded as early as in 1860 and still in existence today, is one of the oldest and largest art associations in Switzerland. The aim of the association has always been to build up an extensive collection of contemporary Swiss art. Today, the Aargauer Kunsthaus owns several paintings from the period between 1905 and 1913, which was so important for Amiet's work [SM] Called up: December 10, 2022 - ca. 17.22 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Sommerblumen. 1909. Aquarell und Tusche. Rechts unten signiert und datiert. Verso bezeichnet „Sommerblumen“. Auf zartem Aquarellpapier von J. Whatman (mit angeschnittenem Wasserzeichen). 44 x 56,1 cm (17,3 x 22 in), Blattgröße. [AM]. • Charaktervolles Frühwerk mit brillanter Farbkraft. • Aus der Moderne-Sammlung von Dr. Johannes Schürer. • Ausdrucksstarkes Stillleben aus Schmidt-Rottluffs bedeutendem Aquarelljahr 1909. Das Aquarell ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin, dokumentiert. PROVENIENZ: Sammlung Dr. Johannes Schürer, Mülheim an der Ruhr (wohl seit den 1930er Jahren, möglicherweise Ankauf bei Commeter 1933). Seither in Familienbesitz. LITERATUR: Galerie Commeter Hamburg, Freiwillige Versteigerung einer Hamburgischen Sammlung nebst Beiträgen: Original Handzeichnungen, Radierungen, Lithographien, Holzschnitte von Künstlern des 19. und 20. Jahrhunderts (…), Versteigerung am 18. und 19. Mai 1933 (Katalog Nr. 58), Los 366. Aufrufzeit: 10.12.2022 - ca. 17.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Sommerblumen. 1909. Watercolor and India ink. Lower right signed and dated. Verso inscribed 'Sommerblumen“. On delicate J. Whatman paper (with truncated watermark). 44 x 56.1 cm (17.3 x 22 in), size of sheet. [AM]. • Characterful early work in brilliant colors. • From the modern art collection of Dr. Johannes Schürer. • Expressive still life from 1909, a year of great importance for the development of Schmidt-Rottluff's watercolor technique. The watercolor is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation, Berlin. PROVENANCE: Collection Dr. Johannes Schürer, Mülheim an der Ruhr (presumably since the 1930s, probably acquired from Commeter in 1933). Ever since family-owned. LITERATURE: Galerie Commeter Hamburg, Freiwillige Versteigerung einer Hamburgischen Sammlung nebst Beiträgen: Original Handzeichnungen, Radierungen, Lithographien, Holzschnitte von Künstlern des 19. und 20. Jahrhunderts (…), auction on May 18 and 19, 1933 (catalog no. 58), lot 366. Called up: December 10, 2022 - ca. 17.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Emil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Tulpen. 1940er Jahre. Aquarell. Rechts unten signiert. Auf Japan. 35,5 x 47,2 cm (13,9 x 18,5 in), blattgroß. • Lockere und zugleich spannungsreiche Komposition in feinsinnig abgestimmtem Kolorit. • Emil Nolde gilt als einer der größten Aquarellisten des 20. Jahrhunderts. • Die Blumenarrangements gehören zu den gefragtesten Sujets im Œuvre des Künstlers. Mit einer Fotoexpertise von Prof. Dr. Manfred Reuther, Stiftung Seebüll Ada und Emil Nolde, vom 15. Oktober 2001. PROVENIENZ: Stiftung Seebüll Ada und Emil Nolde. Galerie Margaret Heuser, Düsseldorf. Privatsammlung Wuppertal (2005 von Vorgenannter erworben). Privatsammlung Nordrhein-Westfalen (durch Erbschaft von Vorgenanntem). 'Die blühenden Farben der Blumen und die Reinheit dieser Farben, ich liebte sie. Ich liebte die Blumen in ihrem Schicksal: emporsprießend, blühend, leuchtend glühend, beglückend, sich neigend, verwelkend, verworfen in der Grube endend. Nicht immer ist unser Menschenschicksal ebenso folgerichtig und schön [..].' Emil Nolde, zit. nach: Martin Urban, Emil Nolde. Blumen und Tiere. Aquarelle und Zeichnungen, Köln 1965, S. 7–8. Die Grundlage für Emil Noldes Liebe zur Flora und Fauna ist in seiner Kindheit als Sohn eines norddeutschen Bauern zu finden. Schon früh geht er der Mutter im Garten zur Hand und seine ersten Malversuche zeigen Blumen und Gärten. Nach einer Lehre als Möbelzeichner und Holzschnitzer 1884–1888 in Flensburg zieht es ihn für eine Lehrstelle im gewerblichen Zeichnen nach St. Gallen. Die Schweizer Berglandschaft unterscheidet sich stark zum Flachland des deutsch-dänischen Grenzgebiets, doch die Naturverbundenheit Noldes bleibt in seinen hier entstehenden Landschaftsaquarellen und den Darstellungen der hiesigen Bauern unverkennbar. Trotz Ablehnung der Akademie steht sein Entschluss fest, sich als Maler zu etablieren, und er findet u. a. durch die private Malschule Adolf Hölzels in Dachau, den Besuch der Académie Julian im Paris der Jahrhundertwende sowie die Erlebnisse im Berliner Großstadtleben zu seinem eigenen Stil. Nach Sommeraufenthalten in Föhr gewinnt die Landschaft ab 1916 in seinem Œuvre vermehrt an Bedeutung und insbesondere nachdem er 1927 das Gelände in Seebüll erwirbt und sich mit seiner Frau Ada dauerhaft im Nordfriesischen niederlässt, nehmen die Blumenstillleben einen besonderen Rang ein. Während er in seinen frühen Blumenbildern noch eine scheinbar unendliche Fülle an Blütenpracht in Öl auf Leinwand zu fassen versucht, erscheinen seine späteren Aquarelle als wahrhafte Zeugen der Natur. Meist arbeitet Nolde in seiner typischen Technik des Nass-in-Nass-Malens direkt inmitten seines eigens angelegten Gartens in Seebüll. Der Gestaltung dieses Gartens schenkt er besondere Aufmerksamkeit. Erste Entwürfe werden von Nolde verworfen, bis er aus den Initialen von ihm und seiner Frau, E und A, den Grundriss des neuen Gartens gestaltet, verbunden durch ein kleines Wasserspiel. Dies zeigt die tiefe Bedeutung des Gartens für den Künstler. Er wird zum Quell unerschöpflicher Inspiration. Eine ausgewogene und frohe Farbkomposition zeichnet auch das Tulpenarrangement aus. Strahlend und in einem virtuos komponierten Durcheinander recken sie ihre Köpfe in den sonnig-gelben Hintergrund und werfen ihre Schatten. Der spontane Eindruck eines Frühlingstages in Seebüll wird so auch für die Betrachtenden spür- und beinahe erlebbar. Die Liebe Noldes zur Natur findet hier ihren Ausdruck, sie sollte ihn sein ganzes Leben lang begleiten. [AW] Aufrufzeit: 10.12.2022 - ca. 19.04 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEmil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Tulpen. 1940er Jahre. Watercolor. Lower right signed. On Japon. 35.5 x 47.2 cm (13.9 x 18.5 in), the full sheet. • Airy and fascinating composition in subtly balanced colors. • Emil Nolde is considered one of the 20th century's greatest watercolorists. • His flower arrangements are among the most sought-after subjects in his œuvre. Accompanied by a photo expertise issued by Prof. Dr. Manfred Reuther, Foundation Seebüll Ada and Emil Nolde, dated October 15, 2001. PROVENANCE: Foundation Seebüll Ada and Emil Nolde. Galerie Margaret Heuser, Düsseldorf. Private collection Wuppertal (acquired from the above in 2005) Private collection North Rhine-Westphalia (inherited from the above). Emil Nolde, quoted from: Martin Urban, Emil Nolde. Blumen und Tiere. Aquarelle und Zeichnungen, Cologne 1965, pp. 7-8. The basis for Emil Nolde's love of flora and fauna can be found in his childhood as the son of a north German farmer. From early on he helped his mother in the garden and made first attempts at painting flowers and gardens. After an apprenticeship as a furniture draftsman and wood carver in Flensburg from 1884 to 1888, he moved to St. Gallen for an apprenticeship in industrial drawing. Although the Swiss mountain landscape differs greatly from the lowlands of the German-Danish border area, Nolde's closeness to nature remained unmistakable in his landscape watercolors and the depictions of local farmers. Despite rejection from the academy, he remained true to his decision to establish himself as a painter and attained his own style through Adolf Hölzel's private painting school in Dachau, the Académie Julien in Paris at the turn of the century and his experiences in Berlin's big city life. After spending several summers on the island of Föhr, the landscape became increasingly important in his oeuvre as of 1916, especially after he had acquired the plot in Seebüll in North Frisian in 1927, where he and his wife Ada would settle for good. Henceforth still lifes of flowers occupied a special rank. While he tried to capture a seemingly endless abundance of blossoms in oil on canvas in his early flower paintings, his later watercolors appear as true witnesses of nature. Most of the time he works were executed in his typical technique of wet-in-wet painting right in the middle of his own garden in Seebüll. The layout of his garden was particularly important to him, he rejected the first drafts and came up with the idea of creating the new garden from his wife’s and his initials, A and E, connected by a small water feature. This testifies to the deep meaning of the garden, especially as an inexhaustible source of inspiration. The tulip arrangement is also characterized by a balanced and cheerful color composition. Radiant and in a virtuoso composed confusion, they stretch their heads into the sunny yellow background and cast their shadows. The spontaneous impression of a spring day in Seebüll can also be experienced by the viewer. Nolde's love of nature, which should accompany him throughout his life, finds expression in the present work. [AW] Called up: December 10, 2022 - ca. 19.04 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Alexander Koester 1864 Bergneustadt - 1932 München Rosen auf Schleier. 1926–1930. Öl auf Leinwand. Stein/Koester 1026. Links unten signiert. Verso auf der Leinwand mit dem Nachlassstempel sowie nummeriert '428a'. Verso auf dem Keilrahmen verschiedentlich nummeriert und betitelt. 50 x 56,5 cm (19,6 x 22,2 in). PROVENIENZ: Nachlass des Künstlers. Privatsammlung Bayern. AUSSTELLUNG: Gedächtnisausstellung des Kunstmalers Alexander Koester, Ständige Ausstellung der Münchener Kunstgenossenschaft, München, 1933, Kat.-Nr. 8832. Dem größten Publikum wird Alexander Koester durch seine variationsreichen Darstellungen von Enten bekannt, mit denen er ab 1899 die Kunstausstellungen in Deutschland beschickt und die zu seinem größten Erfolgsmotiv werden. Dabei umfasst sein Schaffen ebenso alle weiteren malerischen Gattungen, von Porträt über Genre und Landschaft bis hin zum Stillleben. Seine im Farbmaterial schwelgende, breit und pastos angelegte Malweise kommt in diesen auf besondere Art zur Geltung. Sie birgt eine spezielle Faszination von Stofflichkeit, in der das Farbmaterial die dargestellten Blumen, Vasen, Tücher und Oberflächen gleichsam nachmodelliert. So entstehen lebendige, fast haptisch anmutende Oberflächen voller Glanz, Spiegelungen, Effekten, Lichtreflexen und Transparenzen, die das im Grunde impressionistische Prinzip von Koesters Malerei verdeutlichen: die wechselvollen Wirkungen des Lichts auf die Leinwand zu bringen und zu einem Seherlebnis werden zu lassen. [KT] Aufrufzeit: 10.12.2022 - ca. 15.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexander Koester 1864 Bergneustadt - 1932 München Rosen auf Schleier. 1926–1930. Oil on canvas. Stein/Koester 1026. Lower left signed. Verso of canvas with an estate stamp and numbered '428a'. Verso of stretcher numbered and titled. 50 x 56.5 cm (19.6 x 22.2 in). PROVENANCE: Artist's estate. Private collection Bavaria. EXHIBITION: Gedächtnisausstellung des Kunstmalers Alexander Koester, Ständige Ausstellung der Münchener Kunstgenossenschaft, Munich, 1933, cat. no. 8832. Alexander Koester is best known for his varied portrayals of ducks. Showing these works at art exhibitions in Germany from 1899 onwards, they became his most successful motif. However, his oeuvre also spans all other painting disciplines, from portrait and genre to landscape and still life. It is in these works that his broad impasto style of painting, which positively luxuriates in the color medium, came into its own. His style holds a special allure of materiality in which the color medium virtually remodels the portrayed flowers, vases, cloths or surfaces. He thus created vivid, almost haptic surfaces full of sparkle, reflections, effects, light reflexes and transparencies that reveal the essentially Impressionistic principle underlying his painting style, namely to capture the changing effects of light on the canvas and turn them into a visual experience. [KT] Called up: December 10, 2022 - ca. 15.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

•Jean Donaldson (Scottish, 20th Century), Table Top Still Life, signed lower right and dated (19)93, oil on canvas, framed. 23cm by 28.5cm. Note: this lot may be subject to ARR.

•Hamish Lawrie (Scottish, 1919-1987), Still Life of Flowers in a Glass Vase, signed lower right, oil on board, framed. 16.5cm by 11.5cm. Note: this lot may be subject to ARR.

•Paul Maze (French, 1887-1979), Still Life of Yellow Flowers, signed with initials, pastel, framed. 26.5cm by 37cm. Note: this lot may be subject to ARR.

Nan C. Livingstone (British, 1876-1952), Still Life of Roses and Summer Flowers, signed lower right, oil on canvas, framed. 62cm by 75.5cm

•Dame Elizabeth Blackadder O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (Scottish 1931-2021) Indian Still Life, etching and aquatint, signed in pencil and ed. 21/50, framed. 30cm by 22.5cm. Provenance: Stichill Smithy Gallery, Roxburghshire. Note: this lot may be subject to ARR.

Berkeley Sutcliffe. British 1918 - 1979. Watercolour of a Floral still life with Butterfly. Signed to bottom right. 62 x 80cm total size