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Michael Veale (1930-2022), oil on board, still life of flowers in a vase, initialled. 69cm x 53.5cm

English School, portrait of an Elizabethan lady, oil on panel, monogrammed upper right, 45 x 33cm, Brian Rocha, fishing boats, oil on board, label verso from Giles Dominic Art Products, 49 x 59cm, M A Cole, still life depicting blue and white porcelain, wine and fruit, oil on canvas, 45.5 x 56cm, gilt framed, mahogany needlework firescreen, 78cm high and five other oil paintings

Still life study of roses, oil on board, 17 x 23cm, gilt framed

Still life of fruit, grapes and pottery on a table, oil on board, 49cm x 58cm, framed and glazed

Continental school, street scene, heavily impasto oil on canvas, indistinctly signed lower right, 38 x 28cm, framed, Continental school, still life with fruit and wine, oil on canvas, indistinctly signed lower right, 38 x 58cm, framed and a set of four prints

Koury, ' Autumn Flame ', colour print, label verso for Jones Fine Art, 36.5 x 25.5cm, framed and glazed, English school, still life flowers in a jug, oil on board, 39.5 x 29cm, framed, English School, house by a path, watercolour, signed lower left ' Mark ' and dated '38, 26 x 34cm, Continental School, lakeside scene, oil on canvas, signed indistinctly lower right, 29 x 39cm, gilt framed, four prints and a bevelled plate mirror, painted with flowers, 46.5 x 43cm

William Hough (1829 - 1897) still life of grapes and peaches in a straw basket, watercolour, signed lower left, 25 x 35cm, together with A Dransfield, Continental street scene, oil on board, signed lower left and dated 1942, 25.5 x 18cm, both framed and glazed

after Vernon Ward (British, 1905-1985) Still life of spring flowers in a vase on a marble table coloured print, reproduction 19th century style gilt frame 18 x 21¾in. (91.5 x 55.25cm.), the frame 76 x 85cm.

A Lawrence (British 20th century) Still life, fruit bowl and vase oil on board 44.5 x 65 cm (gilt frame 83.5 x 104 cm)

A pair of early 20th coloured lithograph allegorical still life prints - one depicting a still life of objects symbolising the arts, below a portrait by Sir Joshua Reynolds, the other symbolising the vices of gambling, drinking and violence, 14½ x 11½in. (36.8 x 29.2cm.); together with a similar lithograph of a 19th century genre painting, 17¼ x 12¾in. (43.8 x 32.4cm.). (3)

R.P. Richards (late19th/early 20th Century), still life of fruit, watercolour, framed

W.B. Wright, still life of fruit and vase, watercolour and P.H. Richardson, landscape, watercolour, both framed

A contemporary still life, mixed media and two mirrors

Still life of flowers in a vase, watercolour.

Rainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Rosa Tulipanen. 1998. Öl auf Leinwand. Verso signiert, datiert, betitelt sowie bezeichnet mit 'F 252', den Maß- und Technikangaben. 90 x 70 cm (35,4 x 27,5 in). [AW]. • Farbstarkes Blumenstillleben von expressivem Pinselduktus. • Für Rainer Fetting typische, ausdrucksstarke Neuinterpretation einer klassischen Bildgattung. • In den 1970er Jahren ist Fetting Mitbegründer der Künstlergruppierung der 'Neuen-' bzw. 'Jungen Wilden'. • Arbeiten Fettings befinden sich in renommierten Sammlungen, wie u. a. der Tate Gallery, London, des Städel Museums, Frankfurt a. Main, sowie der Fondation Cartier pour l'art contemporain, Paris. PROVENIENZ: Galleri Christian Dam, Oslo. Privatsammlung Norwegen (1999 vom Vorgenannten erworben). LITERATUR: Ingrid Schjoldager (Hrsg.), The Narud Collection, Oslo 2021, S. 184 (m. Farbbabb. S. 185). Aufrufzeit: 08.12.2023 - ca. 14.42 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 VERSIONRainer Fetting 1949 Wilhelmshaven - lebt und arbeitet in Berlin Rosa Tulipanen. 1998. Oil on canvas. Signed, dated, titled and inscribed 'F 252' and the dimensions and the technique on the reverse. 90 x 70 cm (35.4 x 27.5 in). [AW]. • Colorful floral still life with an expressive brushstroke. • Rainer Fetting's typical, expressive reinterpretation of a classic genre. • In the 1970s, Fetting co-founded the group of artists known as the 'Neue Wilden' or 'Junge Wilden'. • Fetting's works can be found in renowned collections such as the Tate Gallery, London, the Städel Museum, Frankfurt am Main, and the Fondation Cartier pour l'art contemporain, Paris. PROVENANCE: Galleri Christian Dam, Oslo. Private collection Norway (acquired from the above in 1999). LITERATURE: Ingrid Schjoldager (ed.), The Narud Collection, Oslo 2021, p. 184 (color illu. p. 185). Called up: December 8, 2023 - ca. 14.42 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.

A. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich From the devil's kitchen. 1994. Acryl auf Leinwand. Unten mittig signiert. Auf dem Keilrahmen signiert, datiert und betitelt. 60 x 79,5 cm (23,6 x 31,2 in). [CH]. • Die Logik und die Systematik in A. R. Pencks Zeichensprache sind solitär in der deutschen Nachkriegskunst. • Seine zum Markenzeichen mutierten Strichmännchen mit großen Penissen und die simplifizierten, klaren Formen, Zeichen und Symbole rufen eine archaische Bildwirkung hervor, die Penck u. a. den Beinamen 'Höhlenmaler der Postmoderne' einbringt (A. Jürgs, Stern Magazin, 2007). • Die Biografie und auch das künstlerische Schaffen des Künstlers ist geprägt von der deutschen Teilung, der Auseinandersetzung mit der DDR-Regierung und dem Leben in zwei gegensätzlichen Gesellschaften. • Den Titel [übers. 'aus Teufels Küche'] mag Penck als Kommentar zu der politischen Situation der noch jungen vereinigten Bundesrepublik gewählt haben. • 1992 stellt Penck nach 1972 und 1982 zum dritten Mal auf der documenta in Kassel aus. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 08.12.2023 - ca. 15.28 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONA. R. Penck (d.i. Ralf Winkler) 1939 Dresden - 2017 Zürich From the devil's kitchen. 1994. Acrylic on canvas. Signed in bottom center. Stretcher signed, dated and titled. 60 x 79.5 cm (23.6 x 31.2 in). [CH]. • The logic and systematics of A. R. Penck's sign language are unique in post-war German art. • His stick figures with large penises, which have become his trademark, and the simplified, clear forms, signs and symbols evoke an archaic pictorial effect that has earned Penck the nickname 'cave painter of postmodernism' (A. Jürgs, Stern Magazine, 2007). • The artist's biography and artistic work are shaped by the division of Germany, the confrontation with the GDR government and life in two conflicting societies. • Penck may have chosen the title as a commentary on the political situation in the still young unified Federal Republic. • In 1992, Penck exhibited at the documenta in Kassel for the third time after 1972 and 1982. PROVENANCE: Private collection North Rhine-Westphalia. Called up: December 8, 2023 - ca. 15.28 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Jakub Schikaneder 1855 Prag - 1924 Prag In der Kirche. 1883. Öl auf Leinwand. Rechts unten signiert und datiert. Verso auf der Leinwand mit den Maßen bezeichnet sowie mit fragmentiertem Etikett. Verso auf dem Keilrahmen nummeriert '98215'. 59 x 39 cm (23,2 x 15,3 in). • Schikaneder gilt als der bedeutendste Prager Künstler der Jahrhundertwende. • Charakteristische Frauenfigur aus dem von mitfühlendem Realismus geprägten Frühwerk des Künstlers. • Zentrale Hauptwerke seines Schaffens befinden sich in der Nationalgalerie, Prag. • Erstmals auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice.com). Wir danken Prof. Dr. Tomáš Vlcek für die freundliche wissenschaftliche Beratung. PROVENIENZ: Privatsammlung Hessen (seit vier Generationen in Familienbesitz). LITERATUR: Svetozor, XVI, 1882, S. 569: Zeichnung. Veronika Hulíková (Hrsg.), Jakub Schikaneder (1855–1924), Ausst.-Kat. Nationalgalerie Prag, Prag 2012, Kat.-Nr. 181: Zeichnung. Jakub Schikaneder gehört zu den bedeutendsten Künstlern des ausgehenden 19. Jahrhunderts und der Jahrhundertwende in Prag. 1871-79 studiert er an den Kunstakademien in Prag und in München, dort in der Klasse von Gabriel von Max, der mit seinen historistischen Figurenkompositionen schulbildenden Einfluss ausübt. Schikaneders Anfänge sind geprägt von einem erzählerischen Realismus naturalistischer Prägung, in denen er sich den Lebensumständen und der Existenz der armen Bevölkerung annimmt. Ähnlich wie die den Realismus prägenden Künstler Frankreichs nimmt er sich dabei oft Einzelfiguren vor, die gleichzeitig in ihrer Individualität als auch als Symbol für eine Klasse oder den allgemein-menschlichen, mit leiser Melancholie eingefärbten Kampf ums Dasein gezeigt werden. Damit wendet er sich von einer historisch-fantastischen Historien- und zugleich einer beschönigenden akademischen Genremalerei ab, zugleich auch von einer von jeglichem sozialen Anspruch losgelösten impressionistischen Schilderung. Seine Figuren sind oftmals weiblich, als ob man in ihnen eine größere Tiefe des Empfindens und Mitfühlens zutrauen würde. Oftmals beiläufige Szenen des menschlichen Lebens, beim Kartoffelschälen, Kräutersammeln oder in der Kirche, zeigen die harte Realität, die dennoch von einem Vertrauen in das Leben gekennzeichnet sind. Gewisse Nähe zeigt sich bisweilen zu Van Goghs Sozialstudien dieser Zeit und der holländischen realistischen Malerei des 19. Jahrhunderts, die ebenso von einem dunklen Kolorit geprägt sind. Schikaneders Interesse an symbolischen Ausdrucksformen zeigt sich am deutlichsten in seinem Interesse an der Welt der Frauen in seinem Werk der 1880er Jahre. Vor allem die Pariser Kultur in Europa wandte sich zu dieser Zeit den Bildern und Schicksalen der Frau in der modernen Zivilisation als dem prominentesten Thema der Moderne zu. Sein Werk, das anfänglich noch zwischen Allegorie und Zeugnis, zwischen klassizistischem Akademismus und modernem, sozial orientiertem Naturalismus oszilliert, wird in den späten 1880er Jahren zum bedeutendsten Versuch eines bildlichen Ausdrucks der Tendenzen von Realismus und Naturalismus im tschechischen Kulturmilieu. [KT] Aufrufzeit: 09.12.2023 - ca. 14.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJakub Schikaneder 1855 Prag - 1924 Prag In der Kirche. 1883. Oil on canvas. Signed and dated in lower right. Inscribed with the dimensions and with a fragmentarily preserved label on the reverse. Numbered '98215' on the stretcher. 59 x 39 cm (23.2 x 15.3 in). • Schikaneder is considered the most important Prague artist of the turn of the century. • Characteristic female figure from the artist's early work, characterized by compassionate realism. • His main works are at the National Gallery, Prague. • For the first time offered on the international auction market (source: artprice.com). We are grateful to Prof. Dr. Tomáš Vlcek for his kind expert advice. PROVENANCE: Private collection Hesse (family-owned for four generations). LITERATURE: Svetozor, XVI, 1882, p. 569: prel. drawing. Veronika Hulíková (ed.), Jakub Schikaneder (1855–1924), ex. cat. Národní galerie v Praze, Prague 2012, cat. no. 181: prel. drawing. Jakub Schikaneder was one of the most important artists of the late 19th century and the turn of the century in Prague. From 1871-79, he studied at the art academies in Prague and Munich in the class of Gabriel von Max, whose historicist figure compositions had a formative influence. Schikaneder's beginnings are characterized by a narrative Realism of a naturalistic nature, in which he addressed the living conditions of the poor. Similar to the French artists of Realism, he often put focus on individual figures shown both in their individuality and as symbols of a class or the general human struggle for existence, tinged with a quiet melancholy. In doing so, he turned away from history painting, and at the same time from euphemistic academic genre painting, as well as from impressionistic depiction detached from any social claims. His figures are often female, as if one would expect a greater depth of feeling and empathy in them. Often incidental scenes of human life, peeling potatoes, gathering herbs or in church, show a harsh reality that to some point is still characterized by a notion of a fundamental trust in life. Some works show a certain proximity to Van Gogh's social studies of the time and Dutch realistic painting of the 19th century, which are also characterized by dark colors. Schikaneder's interest in symbolic forms of expression becomes most evident in his depictions of women in his works of the 1880s. At this time, Parisian culture in Europe in particular was turning to the images and fates of women in modern civilization as the most prominent theme of modernity. His work, which initially oscillated between allegory and testimony, between classicist academicism and modern, socially oriented Naturalism, became the most significant attempt at a pictorial expression of the tendencies of Realism and Naturalism in the Czech cultural environment in the late 1880s. [KT] Called up: December 9, 2023 - ca. 14.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Erich Erler 1870 Frankenstein/Schlesien - 1946 Icking bei München Landschaft mit junger Bäuerin. Um 1900. Öl auf Leinwand. Rechts unten signiert. Verso auf der Leinwand mit Ausstellungsetikett. Verso auf dem Keilrahmen nummeriert und bezeichnet. 94 x 100,5 cm (37 x 39,5 in). PROVENIENZ: Privatsammlung Bayern. AUSSTELLUNG: Erich Erler - ein Schollemaler 1870-1946, Neues Stadtmuseum Landsberg am Lech, 15.11.2002-19.1.2003, Kat.-Nr. 11. Nach einer Ausbildung zum Buchdrucker und Grafiker geht Erich Erler 1896 nach Paris, um dort als Schriftsteller und Korrespondent einer Tageszeitung Fuß zu fassen. Aufgrund einer Erkrankung an Tuberkulose, damals auch unter dem Namen Schwindsucht weit verbreitet, begibt er sich ins Engadin zur Luftkur in das Sanatorium von Dr. Oskar Bernhard, Kunstsammler und Bewunderer des italienisch-schweizerischen Malers Giovanni Segantini. Unter dem Eindruck der imposanten Hochlandschaft und den Werken Segantinis beginnt Erler selbst mit der Malerei. Mit kurzen Unterbrechungen weilt er bis zum Ausbruch des Ersten Weltkriegs im Engadin im Ort Samaden, dessen Name er dem seinen als „Dank an die Berge“ für seine Genesung hinzufügt. Einige Zeit zuvor zieht sich bereits Friedrich Nietzsche in die Abgeschiedenheit des Engadins zurück, und Mitte der 1920er Jahre verewigt Thomas Mann mit seinem „Zauberberg“ die Region literarisch. Erich Erler gehört 1899 in München, wo er sich zeitweise ein Atelier einrichtet, zu den Gründungsmitgliedern der Künstlergruppe „Die Scholle“ und fertigt Grafiken für die Zeitschrift „Jugend“. Seine Landschaften aus dem Engadin, die den Großteil seines Motivrepertoires ausmachen, sind deutlich von der divisionistischen Malweise und Farbgebung Segantinis und einer symbolistischen Bildsprache geprägt. Kantig treten seine Figuren klar umgrenzt vor dem weiten Hintergrund auf und strahlen statuenhafte, unbewegte Monumentalität im sonst menschenleeren Bildraum aus. Ein gewisses Pathos der in heroischer Abgeschiedenheit im Einklang mit der Stille und Erhabenheit der Natur präsentierten Figur der einsamen Hirtin, der Blick in die Unendlichkeit des Himmels gerichtet, lässt sich dabei nicht leugnen. Die beschützende, entschleunigende Alpenlandschaft mag dem aus Paris vor seiner Krankheit geflohenen Erler wie ein magisches Reich erschienen sein, als das er die in sich geschlossene Welt des Engadin, damals von einer touristischen Erschließung noch weit entfernt, in kosmisch-bewegtem Pinselduktus wiedergibt. 1906 ist er mit dreizehn Bildern in der 25. Ausstellung der Wiener Secession zusammen mit Künstlern der 'Scholle' vertreten. Umso mehr wird deutlich, wie lohnenswert eine noch ausstehende umfassende kunsthistorische Würdigung Erich Erlers im Kontext des Symbolismus und der erneuerten Alpenmalerei zu Beginn des 20. Jahrhunderts wäre. [KT] Aufrufzeit: 09.12.2023 - ca. 14.15 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErich Erler 1870 Frankenstein/Schlesien - 1946 Icking bei München Landschaft mit junger Bäuerin. Um 1900. Oil on canvas. Signed in lower right. With an exhibition label on the reverse, as well as numbered and inscribed. 94 x 100.5 cm (37 x 39.5 in). PROVENANCE: Private collection Bavaria. EXHIBITION: Erich Erler - ein Schollemaler 1870-1946, Neues Stadtmuseum Landsberg am Lech, November 15, 2002 - January 19, 2003, cat. no. 11. After training as a printer and graphic artist, Erich Erler went to Paris in 1896 to gain a foothold as a writer and correspondent for a daily newspaper. As he fell ill with tuberculosis, he went to the Engadin for a cure in the sanatorium of Dr. Oskar Bernhard, art collector and admirer of the Italian-Swiss painter Giovanni Segantini. Impressed by the mountain landscape and Segantini's works, Erler began to paint. With brief interruptions, he stayed in the Ebgadin village of Samaden until the outbreak of the First World War, He added the place’s name to his own to appreciated his 'gratitude for the mountains' as they helped him to recover. Some time earlier, Friedrich Nietzsche had already retreated to the seclusion of the Engadin, and in the mid-1920s, Thomas Mann immortalized the region in literature with his work 'The Magic Mountain'. Erich Erler was one of the founding members of the artist group 'Die Scholle' in Munich in 1899, where he temporarily set up a studio, and produced prints for the magazine 'Jugend'. His landscapes of the Engadin, which make up the majority of his motifs, are clearly influenced by Segantini's divisionist painting style and color scheme and a symbolistic pictorial language. His figures are clearly delineated against the wide background and radiate a statuesque, motionless monumentality in the otherwise deserted pictorial space. A certain pathos cannot be denied in the figure of the lonely shepherdess, presented in heroic isolation in harmony with the stillness and sublimity of nature, the gaze directed towards the infinite sky. The protective, decelerating The Alpine landscape with its slower pace of life, may have seemed like a magical realm to Erler, who had fled Paris to escape his illness, as he depicted the mountain world world of the Engadin, at a when it was still far from mass tourism, in a cosmically moving brushstroke. In 1906, he showed thirteen paintings in the 25th exhibition of the Vienna Secession together with artists from the 'Scholle'. This makes it all the more clear how worthwhile a comprehensive art-historical appreciation of Erich Erler in the context of Symbolism and renewed Alpine painting at the beginning of the 20th century would be. [KT] Called up: December 9, 2023 - ca. 14.15 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Franz von Stuck 1863 Tettenweis - 1928 München Kämpfende Faune. 1898. Öl auf Holz. Rechts unten signiert. Verso mit altem nummeriertem Etikett sowie handschriftlichen Nummerierungen. 57 x 80 cm (22,4 x 31,4 in). Im Original-Rahmen von Hans Irlbacher, München (mit dem Etikett). • Die Faune sind ein bedeutendes Motiv im Œuvre Stucks und können als eines der mythologischen 'alter egos' des Künstlers gelesen werden. • Wundervoll leuchtendes Kolorit im Zusammenspiel von Landschaft, Figur und Himmel. • Eine der gelungensten Darstellungen des zentralen Themas der 'Kämpfenden Faune'. • In den Bayerischen Staatsgemäldesammlungen, Neue Pinakothek, München befindet sich eine erste Version des Motivs. PROVENIENZ: Sammlung Fritz Reimann (1862-1913), Elberfeld (bis 1908). Städtisches Museum Elberfeld/Barmen (1908 als Geschenk des Geheimrats Rudolf von Baum, bis 1956). Privatbesitz (im August 1956 vom Vorgenannten erworben). Privatsammlung Bayern. LITERATUR: Heinrich Voss, Franz von Stuck 1863-1928. Werkkatalog der Gemälde mit einer Einführung in seinen Symbolismus, München 1973, WVZ-Nr. 184/100 (m. Abb.). Franz Hermann Meißner, Franz Stuck. Das Künstlerbuch III, Berlin/Leipzig 1899, S. 64f. Die Kunst für Alle, Jg. 18, 1902/03, S. 292. Artur Weese: Franz Stuck: eine Analyse, in: Gesellschaft für Vervielfältigende Kunst (Hrsg.), Die Graphischen Künste, Jg. 26, 1903, Abb. S. 15. Fritz von Ostini, Franz von Stuck. Das Gesamtwerk, München 1909, S. 74 (m. Abb.). Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe, N.F. 19.1908, Heft 17, 28. Februar 1908, Sp. 299. Die Werkstatt der Kunst: Organ für d. Interessen d. bildenden Künstler, 7.1907/1908, Heft 24, 16. März 1908, Sp. 331. Katalog des Städtisches Museums Elberfeld, Die Reimann-Sammlung, Elberfeld o.J. (ca. 1920), Nr. 148. Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1924, S. 105, 110, Abb. 101, S. 93. Ulrich Thieme, Felix Becker, Hans Vollmer (Hrsg.), Allgemeines Lexikon der Bildenden Künstler, Bd. 32: Stephens-Theodotos, Leipzig 1938, S. 233. Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, S. 215. “Alle Welt aber sprach von dem jungen Maler, der gleich mit einer so dezidierten Selbständigkeit auftrat und so vielerlei auf einmal bot: Erscheinungen aus der Fabelwelt der Antike, Nymphen, Faune und Centauren, alles strotzend von vollblütigem Leben und blühend in einer prallen, vom Lüsternen freien Sinnenfreudigkeit; Szenen vom verlorenen Paradiese, die innerlich mit jenem grossen Ausstellungsbilde zusammenhingen; allerlei Romantisches; Landschaften von einem hochgesteigerten, in seiner Art auch monumentalisierten Stimmungsgehalt; Radierungen, ein paar Stilleben usw. Und dies alles war von einer kräftigen neuen Farbigkeit, deren Sprache mit dem Gegenstände wechselte, einmal prickelnd und vibrierend, dann satt und saftig, dann ruhevoll tonig, wie in ein paar dämmerigen Landschaften, dann phantastisch glühend, wie in dem Abendbilde mit dem einsamen Reiter, Aus diesem Debütanten, der doch schon ein Fertiger war, konnte noch alles werden: ein grosser Landschafter, ein hinreissender Phantast, ein Meister des Monumentalen.” Fritz von Ostini, Franz von Stuck: Gesamtwerk, München 1909, S. VIII, zu Stucks Ausstellung im Münchner Kunstverein 1891. Aufrufzeit: 09.12.2023 - ca. 14.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONFranz von Stuck 1863 Tettenweis - 1928 München Kämpfende Faune. 1898. Oil on panel. Lower right signed. With old numbered labels and hand-written numbers on the reverse. 57 x 80 cm (22.4 x 31.4 in). In the original frame by Hans Irlbacher, Munich (with the label). • The fauns are an important motif in Stuck's oeuvre and can be read as one of the artist's mythological 'alter egos'. • Wonderful luminous coloration in the interplay of landscape, figure and sky. • One of the most successful depictions of the central theme of the 'Fighting Fauns'. • A first version of the motif can be found in the Bavarian State Painting Collections, Neue Pinakothek, Munich. PROVENANCE: Fritz Reimann Collection (1862-1913), Elberfeld (until 1908). Städtisches Museum Elberfeld/Barmen (gifted from Rudolf von Baum in 1908, until 1956). Private collection (acquired from the above in August 1956). Private collection Bavaria. LITERATURE: Heinrich Voss, Franz von Stuck 1863-1928. Catalog of paintings with an introduction into his Symbolism, Munich 1973, no. 184/100 (fig.). Franz Hermann Meißner, Franz Stuck. Das Künstlerbuch III, Berlin/Leipzig 1899, pp. 64f. Die Kunst für Alle, vol. 18, 1902/03, p. 292. Artur Weese: Franz Stuck: eine Analyse, in: Gesellschaft für Vervielfältigende Kunst (ed.), Die Graphischen Künste, vol. 26, 1903, illu. p. 15. Fritz von Ostini, Franz von Stuck. Das Gesamtwerk, Munich 1909, p. 74 (illu.). Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe, N.F. 19.1908, issue 17, 28. February 1908, col. 299. Die Werkstatt der Kunst: Organ für d. Interessen d. bildenden Künstler, 7.1907/1908, issue 24, March 16, 1908, col. 331. Katalog des Städtisches Museums Elberfeld, Die Reimann-Sammlung, Elberfeld no date (ca. 1920), no. 148. Otto Julius Bierbaum, Stuck, Bielefeld/Leipzig 1924, pp. 105, 110, illu. 101, p. 93. Ulrich Thieme, Felix Becker, Hans Vollmer (ed.), Allgemeines Lexikon der Bildenden Künstler, vol. 32: Stephens-Theodotos, Leipzig 1938, p. 233. Claudia Gross-Roath, Das Frauenbild bei Franz von Stuck, Weimar 1999, p. 215. 'But the whole world was talking about the young painter, who immediately appeared with such decided independence and offered so many things at once: Apparitions from the mythical world of antiquity, nymphs, fauns and centaurs, all bursting with full-blooded life and blossoming in a full-blooded sensuality free from lechery; scenes from Paradise Lost, which were connected with that great exhibition painting; all kinds of romantic things; landscapes of a highly heightened, in its way also monumentalized mood; etchings, a few still lifes, etc. And all this was of a powerful new colorfulness, the language of which changed with the subject, sometimes tingling and vibrating, then rich and juicy, then calmly tonal, as in a few dusky landscapes, then glowing, as in the evening picture with the lonely rider, This debutant, who was already an accomplished artist, could still become anything: a great landscapist, a captivating fantasist, a master of the monumental.' Fritz von Ostini, Franz von Stuck: Gesamtwerk, Munich 1909, p. VIII, on Stuck's exhibiiton at the Munich Kunstverein 1891. Called up: December 9, 2023 - ca. 14.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Lovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Öl auf Leinwand. Berend-Corinth 248. Links oben signiert. Verso auf dem Keilrahmen mit fragmentiertem alten Etikett. 33,5 x 41,3 cm (13,1 x 16,2 in). [KT]. • Corinth ist neben Liebermann der bedeutendste deutsche Impressionist. • In seinen Stillleben entfaltet sich seine ganze malerische Kraft. • Zusammenarbeit mit seiner Frau Charlotte, ebenfalls Malerin: am 12. Oktober von Charlotte komponiert und aufgebaut und am nächsten Tag von Lovis gemalt. • Wundervolle, leichte Komposition, die mit dem pastellenen Glanz von Rosen und Perlmutt spielt. Mit einer Expertise von Prof. Hans-Jürgen Imiela (1927-2005), Mainz, vom 30. April 1994. PROVENIENZ: Sammlung Dr. Ferdinand Mainzer, Berlin/Los Angeles (seit spätestens 1932, wohl bis 1943). Familienbesitz Mainzer, Los Angeles (bis 1993: Hauswedell). Privatsammlung Bayern. LITERATUR: Hauswedell & Nolte, Hamburg, Auktion 10.6.1993, Los 172 (m. Abb.). 'Es ist recht traurig, daß es Dich so gepackt hat, mein liebes Kerlchen, aber es wird schon besser werden..Das Stillleben bleibt so stehen; morgen werde ich es wohl malen. Mach' nur, daß Du bald malen kannst. Das Stillleben ist gut angelegt und verspricht was zu werden, es ist eine schöne Kunst, wenn mann sie kann..Dein Herr Lehrer grüßt Dich und bleibt Dein Luke.' Lovis Corinth in einem Briefwechsel mit Charlotte Berend am 12. Oktober 1902. Als Schülerin von Corinth hatte Berend ein Stillleben im Atelier aufgebaut und wohl auch eine Studie danach begonnen. Sie kam nicht dazu, das Bild zu beenden. Stattdessen malte Corinth das Bild dann selbst. Aufrufzeit: 09.12.2023 - ca. 17.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONLovis Corinth 1858 Tapiau/Ostpreußen - 1925 Zandvoort (Niederlande) Stillleben mit Blumen in Vase, Muschel und Obst. 1902. Oil on canvas. Berend-Corinth 248. Signed in upper left. With fragments of an old label on the stretcher's reverse. 33.5 x 41.3 cm (13.1 x 16.2 in). [KT]. • Next to Liebermann, Corinth was the most importnat German impressionist. • His painterly strength can fully unfold in his still lifes. • Collaboration witrh his wife Charlotte, likewise a painter: composed by Charlotte on October 12 and painted by Lovis the next day. • Mavelous airy composition that plays with the pastel shine of roses and mother-of-pearl. Accompanied by an expertise from Prof. Hans-Jürgen Imiela (1927–2005), Mainz, dated April 30, 1994. PROVENANCE: Collection Dr. Ferdinand Mainzer, Berlin/Los Angeles (since 1932 the latest, presumably until 1943). Mainzer family, Los Angeles (until 1993: Hauswedell) Private collection Bavaria. LITERATURE: Hauswedell & Nolte, Hamburg, auction on June 10, 1993, lot 172 (with illu.). 'It is sad to hear that it got you so badly, my darling, but it'll get better. The still life will stay as it is, I think I'll paint it tomorrow. You just make sure you'll paint again soon. The stil life is well composed and quite promising, it's a fine art, if you are capable of it. Dear greetings from your teacher.' Lovis Corinth in a correspondence with Charlotte Berend on October 12, 1902. As student of Corinth, Berend had set up a still life in a studio and began to make a study. Since she didn't get down to finish it, Corinth painted the pciture instead. Called up: December 9, 2023 - ca. 17.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Alexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Öl auf Malpappe. Links unten monogrammiert sowie rechts unten datiert. Verso mit einer Ölstudie zu einem Bauernschrank sowie der Bezeichnung '12'. 22 x 15,5 cm (8,6 x 6,1 in). • Ein besonders farbstarkes Exemplar aus der wichtigen Serie der 'Abstrakten Köpfe'. • Radikal überwindet Jawlensky hier die klassische Porträtmalerei. • Harmonische Komposition in reizvoller, geometrisch-inspirierter Symmetrie. • 1933 als Geschenk von Jawlensky an die Kunsthistorikerin und Freundin Mela Escherich. PROVENIENZ: Sammlung Mela Escherich, Wiesbaden (1933 als Geschenk vom Künstler erhalten). Nachlass Mela Escherich, Wiesbaden (seit 1956). Sammlung Hanna Bekker vom Rath, Hofheim im Taunus. Privatsammlung. Privatsammlung (1989 vom Vorgenannten erworben). Privatsammlung Süddeutschland (1992 vom Vorgenannten erworben). LITERATUR: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, Bd. II (1914-1933), München 1992, S. 481, WVZ-Nr. 1417 (m. Farbabb. S. 493). Sotheby's, London, 29.11.1989, Los 199 (m. Farbabb.). Grisebach, Berlin, 24. Auktion, 29.5.1992, Los 63 (m. Farbabb.). Mela Escherich, in: Der Cicerone, Jg. XVIII, 1926, zit. nach: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, S. 129. Von Beginn an verfolgt Alexej von Jawlensky konsequent lediglich drei Bildsujets: Das Stillleben, die Landschaft und das Porträt. Zunehmend wendet er sich der Thematik des Porträts zu, das er in den 'Meditationen', 'Variationen' und später in Serien bis zu seinem Tod 1941 in Wiesbaden immer wieder aufgreift. Schon 1914 im Exil in der Schweiz entstehen erste 'Heilandsgesichter' und 'mystische Köpfe', die den Porträtcharakter der bisherigen Köpfe bereits fast vollständig hinter sich lassen. In logischer Konsequenz geht er einen weiteren Schritt in Richtung Abstrahierung sowie Entwicklung der Farbfeldmalerei und wendet sich von 1918 bis 1933 den 'Abstrakten Köpfen' zu. Unser 'Abstrakter Kopf' von 1933 verbindet ein besonders spannendes Spiel von fröhlicher Farbigkeit einerseits und einem geschlossenen Blick voll innerer Einkehr andererseits. Das den traditionellen russischen Ikonendarstellungen entnommene Schema entrückt Jawlensky restlos einer naturalistischen Darstellung. Auf der Suche nach einer Tiefe im Ausdruck werden die Gesichtsmerkmale aufgelöst in geometrische Formen und in einer beinahe architektonischen Symmetrie neu angeordnet. Mit einer Komposition aus scharfen Linien und fein abgestimmten Farbfeldern dringt Jawlensky mit seiner Kunst auf eine mythische Ebene vor und macht das Unsichtbare fühlbar. Diese Thematik beschäftigt auch die Kunsthistorikerin, Schriftstellerin und Freundin Jawlenskys Mela Escherich, aus deren Besitz das Gemälde stammt. Nach ersten Kontakten zu Beginn der 1920er Jahre entwickelt sich eine enge Freundschaft zwischen diesen beiden Gleichgesinnten. Escherich versorgt ihn sowohl mit Lektüre als auch mit finanzieller Unterstützung und wird mit Jawlenskys zunehmender Bewegungseinschränkung eine seiner sog. 'Nothelferinnen'. Der Künstler dankt es ihr mit Bildgeschenken wie dem 'Abstrakten Kopf' von 1933. Auch nach seinem Tod agiert sie als unermüdliche Befürworterin und unternimmt sogar erste Anstrengungen hinsichtlich eines Werkverzeichnisses. Es ist also nicht nur die besondere Ausdruckskraft des Werkes, was dieses mit einem so geistvollen Charakter kennzeichnet, sondern auch die spannende Provenienz und einzigartige Hintergrundgeschichte. [AW] Aufrufzeit: 09.12.2023 - ca. 17.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONAlexej von Jawlensky 1864 Torschok - 1941 Wiesbaden Abstrakter Kopf. 1933. Oil on cardboard. Lower left monogrammed and lower right dated. With an oil study of a rustic wardrobe and the inscription '12' on the reverse. 22 x 15.5 cm (8.6 x 6.1 in). • A particularly color-intense copy from the important series of the 'Abstract Heads'. • Jawlensky left classic portraiture behind him in a radical manner. • Harmonious composition in an appealing symmetry informed by geometry. • In 1933 present from Jawlensky to the art historian and friend Mela Escherich. PROVENANCE: Mela Escherich Collection, Wiesbaden (gifted from the artist in 1933). Estate of Mela Escherich, Wiesbaden (since 1956). Hanna Bekker vom Rath Collection, Hofheim im Taunus. Private collection. Private collection (acquired from the above in 1989). Private collection Southern Germany (acquired from the above in 1992). LITERATURE: Maria Jawlensky/Lucia Pieroni-Jawlensky/Angelica Jawlensky, Alexej Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. II (1914-1933), Munich 1992, p. 481, no. 1417 (color illu. p. 493). Sotheby's, London, November 29, 1989, lot 199 (color illu.). Grisebach, Berlin, 24th auction, May 29, 1992, lot 63 (color illu.). Mela Escherich, in: Der Cicerone, year XVIII, 1926, quoted from: Clemens Weiler, Köpfe-Gesichte-Meditationen, Hanau 1970, p. 129. From the beginning on, Alexej von Jawlensky consistently pursued only three subjects: the still life, the landscape and the portrait. He increasingly turned to portraits, which he revisited in meditations, variations and in serial works, until his death in Wiesbaden in 1941. As early as in 1914 while in exile in Switzerland, he made first “Savior Faces” and “Mystical Heads” in which he would almost completely overcome the portrait character of previous heads. As a logical consequence, he made another step towards abstraction and the development of color field painting with the “Abstract Heads” made between 1918 and 1933. Our 'Abstract Head' from 1933 combines a particularly exciting play of cheerful colors on the one hand, and inner contemplation on the other. Jawlensky entirely removed the scheme, taken from traditional Russian icons, from all naturalistic representation. In search of depth of expression, he broke facial features into geometric shapes and rearranged in an almost architectural symmetry. With a composition of sharp lines and finely coordinated color fields, Jawlensky's art reached a mythical level at which he made the invisible tangible. This topic also concerned the art historian Mela Escherich, writer and friend of Jawlensky, who was among the work’s early owners. After they had met in the early 1920s, the two like-minded people became close friends. Escherich provided him with reading material as well as with financial support and, as Jawlensky became increasingly ill, she was one of his so-called 'emergency helpers'. In return for her help, the artist gave her pictures such as the present 'Abstract Head' from 1933. Even after his death, she acted as a tireless supporter and even made first efforts to compile a catalogue raisonné. So it's not just the special expressiveness of the work that gives it such a spirited character, but also the exciting provenance and the unique background story. [AW] Called up: December 9, 2023 - ca. 17.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Karl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Blumenstilleben. Late 1920er Jahre. Aquarell und Tuschpinsel. Rechts unten signiert. Aus festem Aquarellpapier. 50,8 x 35,8 cm (20 x 14 in), blattgroß. [JS]. • Schmidt-Rottluff ist der unangefochtene Meister des Aquarells unter den 'Brücke'-Künstlern. • Malerisch ausgeführtes Blumenstillleben in expressiv-befreiter Farbigkeit. • 1959 über das Stuttgarter Kunstkabinett in eine schweizerische Privatsammlung veräußert und seither in Familienbesitz. Die Arbeit ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin, dokumentiert. PROVENIENZ: Privatsammlung Norddeutschland. Privatsammlung Schweiz (erworben 1959, Stuttgarter Kunstkabinett, 34. Auktion, Los 860). Privatsammlung Süddeutschland (durch Erbschaft vom Vorgenannten). LITERATUR: Stuttgarter Kunstkabinett Roman Norbert Ketterer, Moderne Kunst, 34. Auktion, 20./21.11.1959, Los 860 (m. Abb. Tafel 52). 'Mit seiner Arbeitsweise etablierte Schmidt-Rottluff das Aquarell als gleichberechtigte Bildgattung neben dem Gemälde. Seine Aquarelle sind von Format, Komposition und malerischer Ausführng den Gemälden ebenbürtig. Für Schmidt-Rottluff, der mit der Künstlergruppe 'Brücke' den deutschen Expressionismus prägte, der bewußt antiakademisch die spontane, empfindungsgeleitete Arbeitsweise vor dem Motiv pflegte und die unmittelbare Wiedergabe des Gesehenen und Gefühlten als höchstes Kriterium für unverfälschten Ausdruck ansah, war das Aquarell in seiner leichten und unkomplizierten Handhabung die Technik der Wahl, um Eindrücke direkt >vor der NaturENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Blumenstilleben. Late 1920s. Watercolor and ink brush. Signed in lower right. On firm watercolor paper. 50.8 x 35.8 cm (20 x 14 in), the full sheet. [JS]. • Schmidt-Rottluff is the uncontested master of the watercolor among the 'Brücke' artists. • Painterly executed flower still life in expressive liberated colors. • Sold to a Swiss private collection by the Stuttgarter Kunstkabinett in 1959, ever since family-owned. The work is documented in the archive of the Karl and Emy Schmidt-Rottluff Foundation, Berlin. PROVENANCE: Private collection Northern Germany Private collection Switzerland (acquired in 1959, Stuttgarter Kunstkabinett, 34th auction, lot 860). Private collection Southern Germany (inherited from the above). LITERATURE: Stuttgarter Kunstkabinett Roman Norbert Ketterer, Moderne Kunst, 34th auction, November 20 and 21, 1959, cat. no. 860 (fig. plate 52). 'With his unique method, Schmidt-Rottluff established the watercolor as a genre on par with his paintings. In terms of size, composition and painterly execution, they are of equal rank. For Schmidt-Rottluff, who was formative for German Expressionism with the artist group 'Brücke' and who deliberately pursued an anti-academic and spontaneous method guided by sensation, regarding the immediate rendition of what he saw and felt as paramount criteria for an unadulterated expression, the watercolor and its facile and simple handling was the technique of his choice in order to capture his impressions directly >in front of nature

Emil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Sommerblumen (Mohn, Tulpen, Königskerze). Um 1950. Aquarell und Tempera. Rechts unten signiert. Auf Japan, auf Karton aufgezogen. Mit Unterlagekarton: 36,5 x 51 cm (14,3 x 20 in). • 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, Klockries, vom 30. Oktober 2023. Das Aquarell ist unter der Nummer 'Nolde A - 288/2023' im Archiv Reuther gelistet. PROVENIENZ: Stiftung Ada und Emil Nolde, Seebüll. Galerie Günther Franke, München. Privatsammlung USA (beim Vorgenannten erworben). Privatsammlung Berlin (seit 1996). LITERATUR: Grisebach, Berlin, 29.11.1996, Los 20. Vor allem in seinen letzten Lebensjahren kommt Nolde immer wieder auf eines seiner frühen Motive, das Blumenstillleben, zurück. An diesen Blättern fasziniert die gleichsam traumwandlerische Sicherheit, mit der Emil Nolde seine Blumenaquarelle schuf. Insbesondere, jedoch nicht allein, ist es die ungewöhnliche, fast magische Farbwelt, die den geheimen Zauber dieser Blätter ausmacht. Darüber hinaus ist es außerdem die Komposition als solche, die wesentlich zu dem intensiven Gesamteindruck beiträgt. Die spezielle Technik des Nass-in-Nass-Malens, die Nolde in diesen Werken perfektioniert, ist hier in seinem Spätwerk ergänzt durch den Einsatz von Tempera-Farben, die der Künstler als besonders lichtecht empfindet, wodurch sich ein überaus reizvolles Wechselspiel zwischen lasierenden und kräftig deckenden Bildpassagen ergibt, das in dem hier vorliegenden Blatt insbesondere die Tulpen- und Mohnblüten ausdrucksstark akzentuiert. Es ist daher nicht verwunderlich, dass die Blumenstillleben mit ihrem zugleich farbintensiv leuchtenden und feinsinnig sanft abgestimmten Kolorit und ihren besonders reizvollen Blütenarrangements heute eine besonders gefragte Motivgruppe im Œuvre des Künstlers sind. [SM] Aufrufzeit: 09.12.2023 - ca. 18.38 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEmil Nolde 1867 Nolde/Nordschleswig - 1956 Seebüll/Schleswig-Holstein Sommerblumen (Mohn, Tulpen, Königskerze). Um 1950. Watercolor and tempera. Signed in lower right. On Japon, laid on cardboard. Including backing cardboard: 36.5 x 51 cm (14.3 x 20 in). • Airy and fascinating composition in subtly coordinated colors. • Emil Nolde is considered one of the greatest watercolorists of the 20th century. • The flower arrangements are among the most sought-after subjects in the artist's oeuvre. Accompanied by a photo authentication issued by Prof. Dr. Manfred Reuther, Klockries, dated October 30, 2023. The watercolor is listed as 'Nolde A - 288/2023' in the Archive Reuther. PROVENANCE: Foundation Ada and Emil Nolde, Seebüll. Galerie Günther Franke, Munich. Private collection USA (acquired from the above). Private collection Berlin (since 1996). LITERATURE: Grisebach, Berlin, November 29, 1996, lot 20. Particularly in the last years of his life, Nolde repeatedly revisited one of his early motifs, the floral still life. What is so fascinating about these sheets is the almost somnambulistic certainty with which Emil Nolde created watercolors of flowers. In particular, but not alone, it is the unusual, almost magical world of color that makes for the secret magic of these sheets. It is also the composition as such that contributes to the intense overall impression. The special technique of wet-on-wet painting, which Nolde perfected in these works, is supplemented in his late works by the use of tempera, which the artist found to be particularly lightfast, resulting in an extremely charming interplay between glazed and strongly opaque parts, which in the present sheet accentuates the tulip and poppy blossoms in a particularly expressive manner. It is therefore not surprising that floral still lifes of appealing flower arrangements with luminous and subtle colors are a particularly popular group in the artist's oeuvre today. [SM] Called up: December 9, 2023 - ca. 18.38 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 Mit den schwarzen Tulpen. 1967. Aquarell und Tusche. Rechts unten in der Darstellung signiert sowie am Unterrand mit der Werknummer '6734' bezeichnet. Verso betitelt und bezeichnet '69/37'. Auf chamoisfarbenem Velin. 70 x 49,5 cm (27,5 x 19,4 in), blattgroß. [JS]. • Souverän durchkomponiertes, sommerliches Stillleben. • Faszinierendes Beispiel für Schmidt-Rottluffs meisterliche Kompositionsweise aus Umriss und farbiger Form. • Bedeutende Provenienz: ehemals Teil der Sammlung Bahlsen, Hannover. • Die Technik des Aquarells ist in Schmidt-Rottluffs Schaffen von zentraler Bedeutung: Lückenlos von den Jahren der 'Brücke' bis in seine letzte Schaffensphase der 1970er Jahre dominiert das Aquarell sein Œuvre. Das Aquarell ist im Archiv der Karl und Emy Schmidt-Rottluff Stiftung, Berlin, dokumentiert. PROVENIENZ: Sammlung H. Bahlsens Keksfabrik KG, Hannover. Nachlass Andrea v. Nordeck, geb. Bahlsen, Hannover (geerbt vom Vorgenannten). Delta Kunsthandels- u. Verwaltungs GmbH & Co. KG (Nachlass der Vorgenannten, bis 2019, Kastern, 16.3.2019, Los 88). Privatsammlung Norddeutschland (seit 2019). LITERATUR: Kastern Kunstauktionen, Auktion 16.3.2019, S. 33, Los 88 (m. Abb.). Aufrufzeit: 09.12.2023 - ca. 19.10 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONKarl Schmidt-Rottluff 1884 Rottluff bei Chemnitz - 1976 Berlin Mit den schwarzen Tulpen. 1967. Watercolor and India ink. Signed in the image in lower right and inscribed with the work number '6734' in bottom margin. Titled and inscribed '69/37' on the reverse. On off-white wove paper. 70 x 49.5 cm (27.5 x 19.4 in), the full sheet. [JS]. • Sovereignly composed, summery still life. • Fascinating example of Schmidt-Rottluff's masterly composition of outline and colored form. • Important provenance: Formerly part of the Bahlsen Collection, Hanover. • The technique of watercolor is of central importance in Schmidt-Rottluff's oeuvre: it always played an important role in his oeuvre from the years of the 'Brücke' to his last creative phase of the 1970s. PROVENANCE: Collection H. Bahlsens Keksfabrik KG, Hanover. Estate of Andrea v. Nordeck neé Bahlsen, Hanover (from the above). Delta Kunsthandels - u. Verwaltungs GmbH & Co. KG (estate of the above - 2019, Kastern, March 16, 2019, lot 88). Private collection Northern Germany (since 2019). LITERATURE: Kastern Kunstauktionen, auction on March 16, 2019, p. 33, cat. no. 88 (fig.). Called up: December 9, 2023 - ca. 19.10 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Hans CHRISTIANSEN (1866-1945) Blumenstillleben, floral still life,Öl/Malpappe, u. rechts monogrammiert H C, deutscher Maler des Jugendstil, geb. in Flensburg 1866 - Wiesbaden 1945, H 100 cm x B 70 cm, Rahmen verglast 118 x 88 cm

Agostino Bosia (Italian 1886-1962): Still Life of Pansies and Flowers in a Vase, oil on board signed and dated '55, 48cm x 38cm

Keith Stuart Baynes (British 1887-1977): 'Red and Blue' Still Life of Flowers in a Vase, oil on board unsigned, labelled verso 45cm x 35cm

Keith Stuart Baynes (British 1887-1977): Still Life of 'Teal', oil on board signed c.1930, titled on gallery label verso 31cm x 39cm Provenance: with The Ixion Society, Benton End, Hadleigh, label verso

Attrib. Béla Adalbert Czóbel (Hungarian 1883-1976): Still Life of Fruit, oil on canvas laid on board signed 54cm x 44cmCondition Report:Good overall condition, shows no signs of over-paint under UV light

John F Smith (British 1934-): Still Life of Fruit, oil on board signed 30cm x 40cmCondition Report:Excellent condition, well presented, ready to hang

William Henry Hunt (British 1790-1864): Still Life of Plumbs, oval watercolour signed with initials 14cm x 19cmCondition Report:Good condition, ready to hang

Roger Eliot Fry (British 1866-1934): 'Still Life', pen and ink unsigned c.1918, 36cm x 23cm Provenance: private collection, purchased The Bloomsbury Workshop, Galen Place, London, label verso

Rowland Henry Hill (Staithes Group 1873-1952): Still Life of Flowers, watercolour signed and dated 1932, 15cm x 24cmCondition Report:Good condition with strong original colour, watercolour board slightly bowed.

Ernest Higgins Rigg (Staithes Group 1868-1947): Still Life of Roses, oil on board signed and dated '36, 56cm x 46cmCondition Report:Excellent condition, well presented in quality frame, ready to hang

Harold Edward Conway (Staithes Group 1872-1949): Still Life of Summer Flowers, oil on canvas signed and dated 1935, 32cm x 25.5cm (unframed)Condition Report:Good original condition, no signs of overpainting visible under UV light. Ready to frame.

§ Laurence Biddle (1888-1968) - Still life red and white roses in a footed bowl, oil on board, signed and dated '36 lower right, 30.5 x 46cm

Brian Keany (b.1939) - Still life flowers in a vase, acrylic, signed in pencil lower right, 45 x 45.5cm

Jane Bennett (b.1960) - Still life orange with eggs and a jug, oil on board, signed lower right, 25 x 35.5cm

Jane Bennett (b.1960) - Still life apples with lemon and coffee cup, oil on board, signed lower left, 32.5 x 51.5cm

Jane Bennett (b.1960) - Still life pink roses in a vase, palette knife oil on board, signed lower left, 31 x 22cm Excellent and original condition throughout.Colours good, bold and original.Paint stable and complete.

Rose Mead (1868-1946) - Still life flowers in a vase with jug, watercolour, signed lower right, 38.5 x 28cm

*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington. 

λ&nbspINDALECIO HERNÁNDEZ VALLEJO (SPANISH 20TH/21ST CENTURY) STILL LIFE OF ORANGES, STRAWBERRIES AND A JUG Oil on canvas laid to board Signed and dated 89 (lower right) 38.5 x 46.5cm (15 x 18¼ in.) Please note measurements do not include the frame unless otherwise stated. Condition Report: Light surface dirt throughout, most notable to the extreme framing edges with associated rubbing. A small loss to the lower right corner. A surface scratch running through the orange on the right. Craquelure to the orange on the right and to the right edge of the orange on the plate. A small surface scratch to the left of the blue and white vessel. Condition Report Disclaimer

λ&nbspBINNY MATTHEWS (BRITISH B. 1960) STILL LIFE WITH PLANT AND BIRD Oil on canvas Signed and dated 1993 (lower left) 74.5 x 73.5cm (29¼ x 28¾ in.) Please note measurements do not include the frame unless otherwise stated. Condition Report: Please note Dreweatts are not liable for damage to frames or mounts.Condition Report Disclaimer

AFTER EVARISTO BASCHENIS STILL LIFE WITH MUSICAL INSTRUMENTS Oil on canvas 63 x 92.5cm (24¾ x 36¼ in.) After the picture in the collection of the Accademia Carrara. Please note measurements do not include frame unless otherwise stated.

MATTHEW JAMES (XX Century)Still Life, Glass of Wine and Fruit on a Ledge, oil on board, signed lower right,24 x 19cm.

Raymond Campbell (b-1956) still life "Warres Vintage 1984", oil on board in decorative frame, signed, good condition all over, 60 x 49.5cm

Jonas Wood (American 1977-), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper, published by Voorlinden Museum; sheet: 59.5 x 59.5cmsheet: 59.5 x 59.5cm

MATTER OF LIFE AND DEATH, AUK Three Sheet (40" x 77"); AKA Stairway to HeavenVery Fine Folded Eagle-Lion, 1946Shown under its original title, the posters from the first post-war year are uncommon. This is a country of origin poster that we've never seen before and is incredibly scarce.The poster is printed in two panels as was the standard and both panels are in exceptional condition. There is minor fold centerpoint wear and some small pinholes. The paper is still very fresh and supple.This film, released in America as Stairway to Heaven, was directed by the award-winning team of Michael Powell and Emeric Pressburger and stars David Niven, Kim Hunter, Robert Livesey, Richard Attenborough, and Raymond Massey in the charming tale of Peter Carter (Niven), an RAF pilot who finds himself in "the other world" after jumping from a burning plane without a parachute. When his guide to the afterlife misses him in the confusion, Carter finds himself still alive and falling in love with June (Hunter), the USAF radio operator he was speaking to before bailing out. Interestingly, the scenes on Earth are filmed in Technicolor, while the scenes in Heaven are rendered in stunning black-and-white, giving those segments a truly otherworldly appearance. This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

COMMANDER CODYOne-Sheet (27" X 41"); From the Leonard Maltin Collection Chapter 12 - The Captives of the Zero HourVery Fine+ Folded Republic, 1953The classic poster offered here is from the final chapter, "Captives of the Zero Hour," and boasts a dynamic image of Cody in his "futuristic" space suit. Other than pinholes in the top two corners, and some slight wrinkling to the right edge, the poster is in excellent condition.By 1953, the serial format, so popular in the 1930s and 1940s, was ending, succumbing to the rise of television. However, the format still had some life left in it, as proved by this classic science-fiction adventure about Commander Cody (Judd Holdren), a masked scientist/adventurer who sets out to find the cause of dangerous weather and climate changes ravaging the earth. He discovers an alien plot to conquer the planet, aided and abetted by a gang of Earth-born crooks. The Commander Cody character was first seen in an earlier Republic serial, Radar Men from the Moon (1952), starring George Wallace, and continued in Zombies of the Stratosphere (1952) with Holdren before transitioning to television. This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

DARK VICTORYMIdget Window Card (8" x 14")Fine+ Warner Bros., 1939The midget window card offered here features an evocative portrait of Davis in one of her most famous roles. All the paper on this popular title is extremely scarce.This beautiful mini window card had the upper white imprint trimmed by two inches. It has been skillfully replaced and the colors were blended with airbrush.This is the story of young wealthy socialite Judith Traherne (Bette Davis), who is diagnosed with an inoperable brain tumor that will first take her sight and then her life, leading her to try and decide how she'll use the limited time she has left. Producer Hal Wallis bought the rights and gave Davis the part of Judith. Still hurting from the end of her affairs with William Wyler and Howard Hughes and her impending divorce from Ham Nelson, Davis was overwhelmed with the demands of filming and begged Wallis for time off after just a few days of filming. His response? "I've seen the rushes - stay sick!" The result was one of Warner's biggest hits of the year and a film that Davis considered her very favorite. This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

COMRADESHIPGerman Poster (37" x 56")Fine+ Folded Vereinigte Star-Film GmbH, 1931 The stunning country-of-origin poster offered here brilliantly captures the moment that the mine collapses, trapping the French workers underground. German posters from the inter-war period are exceptionally scarce.The poster shows some tanning with age as well as pinholes in the corners and some small amount of cross fold separation. It still displays very well and would be a great candidate for restoration.Director G.W. Pabst's Kameradschaft is a thrilling disaster film that centers around a group of French miners trapped underground due to a fire and an explosion. A brave group of German miners put their lives on the line to rescue them. The film is based on a real-life 1906 Courrières mine disaster, which is one of the worst industrial accidents in history. The lack of trained mine rescuers made it difficult to free workers after a coal dust explosion. Pabst's film is a moving appeal for peace and cooperation between France and Germany, who were enemies in World War I.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

RAYMOND HAINS (1926-2005)Palissade 1959 signé et daté 1959 au reversaffiches lacérées sur latte de palissade signed and dated 1959 on the reverse torn posters on wood 112 x 11.5 x 2 cm. 44 1/8 x 4 1/2 x 13/16 in.Footnotes:Un certificat de Monsieur Thomas Hains pourra être obtenu, à la charge de l'acquéreur.Provenance Vente : Binoche, Espace Cardin, Paris, Tableaux Modernes et Contemporains, 31 mai 1978, lot 29 bis Acquis lors de cette vente par le propriétaire actuel« Mes œuvres existaient avant moi, mais on ne les voyait pas parce qu'elles crevaient les yeux ».Figure majeure de la scène artistique d'après-guerre, c'est dans les années 1950, alors qu'il arpente les rues de Saint-Germain-des-Prés en compagnie de Jacques Villeglé, que Raymond Hains prélève sa première affiche. Plus que des affiches, Raymond Hains s'approprie des morceaux choisis, mémoire de l'histoire urbaine, fruit de manipulations d'une foule d'anonyme et de l'érosion du temps. C'est à l'occasion d'une première exposition collective en mai 1960, à la galerie Apollinaire de Milan, que Pierre Restany définit le Nouveau Réalisme comme un « recyclage poétique du réel urbain, industriel, publicitaire ». Ces trois morceaux choisis par l'artiste, tantôt décollés, lacérés, arrachés ou bruts, témoignent de cette démarche du flâneur-cueilleur, illustration littérale de la vie urbaine de l'époque. La palissade que nous présentons, datée de 1959, est un des premiers prélèvements de l'artiste encore entre des mains privées. Celle-ci fait écho à celles présentées lors de l'exposition La peinture après l'abstraction 1955-1975 au Musée d'Art Moderne de la ville Paris en 1999.'My works existed before I did, but they weren't seen because they stuck out'.A major figure on the post-war art scene, it was in the 1950s, while roaming the streets of Saint-Germain-des-Prés with Jacques Villeglé that Raymond Hains removed his first poster. Not just posters, since Raymond Hains gathered selected pieces, a record of urban history, with the added input from a host of anonymous people, and the erosion of time. It was at his first group exhibition in May 1960, at the Apollinaire gallery in Milan that Pierre Restany defined Nouveau Réalisme as a 'poetic recycling of urban, industrial and advertising reality'. The three pieces chosen by the artist, sometimes peeled off, torn or in the rough, bear witness to his nomadic-gatherer approach, and are quite a literal illustration of urban life at the time. The palisade we are presenting, dated 1959, is one of the first of the artist's works still in private hands. It echoes those presented at the exhibition La peinture après l'abstraction 1955-1975 at the Musée d'Art Moderne de la Ville Paris in 1999.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden. Please see the full listing below. Sold not subject to return. (c.60)EDEN, Anthony (1897-1977), 1st Earl of Avon - Books annotated by, or otherwise associated with, Anthony Eden (arranged chronologically) - L. J. TROTTER. Rulers of India. The Earl of Auckland, Oxford, 1893, 8vo, cloth, annotated and underlined in black or red ink throughout [probably not by Eden], bookplate [please see the note regarding bookplates at the end of this lot], J. W. FORTESCUE. The Story of a Red-Deer, London, 1904, 4to, cloth, SIGNED in crayon, "Robert Anthony Eden 1906", and again with initials, bookplate; D. S. MARGOLIOUTH. Mohammed and the Rise of Islam, London, 1905, 8vo, buckram, with some annotation and highlighting by Eden, bookplate; A. F. HORT. The Gospel According to St Mark. The Greek text Edited with Introduction and Notes for the Use of Schools, Cambridge, 1907, 8vo, cloth, SIGNED & INSCRIBED "R. A. Eden, March 1914, Eton College, Windsor" on the front pastedown, with Eden's copious schoolboy annotation to the Greek text; Gustave MERLET (editor). Anthologie Classique des Poètes du XIXéme Siècle, Paris, [n.d.], 8vo, boards, SIGNED "R. A. Eden, [?]E.J.C., Oct. 17th 1914" [the day on which Anthony's older brother, John, was killed in action] and with 2 further dates added in ink, on p.162, "16/6/15" and on p.338 "30th June 1915"; G. E. MITTON. The Lost Cities of Ceylon, London, 1917, 8vo, cloth, with sparse annotation and highlighting, bookplate; Rupert BROOKE. 1914 & other Poems, London, 1918, 8vo, cloth, "Twenty-fourth Impression", bookplate; James BRYCE. Modern Democracies, London, 1921, 2 vols., 8vo, cloth, SIGNED "R. Anthony Eden, Mulberry Walk, Sept, [illegible year]" on front free endpaper, with occasional outspoken annotation by Anthony Eden, for example, on p.135 in vol. one: "!!!Too proud to fight! The worst soldiers ever seen -" and some highlighting to text, bookplate; Anatole FRANCE. Vie de Jeanne d' Arc, Paris, [1921], 2 vols., large 8vo, hessian, wrappers bound in, wrappers signed "R. Anthony Eden, Jan. 18, 1923", with some highlighting mainly to the beginning of vol. one, and an envelope, inscribed by Eden, loosely-inserted, indicating a highlighted quote on p.xxi of the book (the printed passage reading, "Au long d' interminables guerres, la misère et l' ignorance avaient appauvri les esprits et réduit l'homme à une extrême maigreur morale"), with some other notes, bookplate; Maurice PALEOLOGUE. La Russie des Tsars pendant La Grande Guerre, Paris, 1921-23, reprints, 3 vols., 8vo, later buckram, wrappers bound in, wrappers signed "R. Anthony Eden, 1923", and with some highlighting, bookplate; Chateaubriand's Atala [and 2 other works], Vienne, [n.d.], 8vo, boards, SIGNED "R. Anthony Eden, June 5th, [?]1923" on the front pastedown, with emotional printed passages on pp.109-113 highlighted; Lytton STRACHEY. Landmarks in French Literature, London, 1923, 8vo, cloth, with some sparse annotation and highlighting, bookplate; Essays of To-Day and Yesterday. Augustine Birrell, London, 1926, 8vo, original wrappers, the half title with an autograph quotation in ink, possibly in Eden's hand, of the words from "As I Sat Under a Sycamore Tree", inscribed at the foot, "To Goonie [i.e. Lady Gwendeline Spencer-Churchill], Christmas Day, 1926, A. [?]E"; Charles Mauron. The Nature of Beauty in Art and Literature ... Translation and Preface by Roger Fry [upper cover: Hogarth Essays. Second Series], London, The Hogarth Press, 1927, 8vo, original boards decorated by Vanessa Bell, upper board detached, with annotation and highlighting throughout; Henry TAYLOR. The Statesman. An ironical treatise on the art of succeeding, London, 1927, "Reprint Series No. 2", 8vo, cloth, with highlighting throughout, bookplate; Frederick Morton EDEN, 2nd Baronet. The State of the Poor, London, 1928 [but first published in 1797], 8vo, cloth, SIGNED "Anthony Eden 1950"; Langhorne GIBSON & J. E. T. HARPER. The Riddle of Jutland. An Authentic History, London, 1934, large 8vo, folding maps in a pocket at the end, buckram, SIGNED in pencil by Anthony Eden on the front free endpaper, with his annotation on p.335 and some highlighting [Midshipman Nicholas Eden, Anthony Eden's brother, was killed at the Battle of Jutland in 1916], bookplate; Charles HARRINGTON. Plumer of Messines, London, 1935, 8vo, plates and maps, cloth, with some annotation on wartime experiences and highlighting; R. B. MOWAT. Europe in Crisis, London, 1936, 8vo, frontispiece portrait of Anthony Eden, cloth, without annotation, bookplate; Siegfried SASSOON. Sherston's Progress, London, 1936, 8vo, cloth, with Anthony Eden's old armorial bookplate heavily-annotated in pencil indicating colours for "Burke's Peerage, DeBrett" (written in pencil above), and with some sparse annotation and highlighting to the text of the book itself; R. B. MOWAT. The Fight for Peace, London, 1937, 8vo, cloth, with typed compliment slip from the author loosely-inserted, and inscribed by Eden on the front free endpaper, "A friendly book. A. E." but without any further annotation or highlighting; George Macaulay TREVELYAN. Grey of Fallodon, London, 1937, 8vo, cloth, with Eden's annotation and highlighting and a loosely-inserted empty envelope inscribed by Eden on the outside, bookplate; F. Elwyn JONES. The Battle for Peace, London, 1938, 8vo, uncorrected proof copy, wrappers, with Eden's highlighting throughout including, on p.[65] to a printed quotation from a speech made by Hitler in Munich in 1936 in which he (Hitler) stated, "I do not believe there can be peace among the nations until they all have the same law and system of law. That is why I hope that National Socialism will one day extend over the world. This is no fantastic dream, but an achievable object" and again to a printed passage by the author on p.197: "For Hitler's aim is not primarily 'ideological', however much he insists on this in his speeches. Hitler's real aim is a Greater Germany which will dominate Central and South-East Europe"; Johannes STEEL. The Truth About Munich ... A Collection of Broadcasts Given Recently on Station WMCA, New York, 1938, 8vo, stapled (lacks wrappers), with one passage highlighted by Eden; W. MACNEILE DIXON. The Human Situation, London, 1938, 8vo, cloth, reprint, with some annotation by Eden including on p.98 a comment on the German massacre of civilians at Dinant in 1914, "Yes - I saw some of this evidence myself" and highlighting, bookplate; Anthony EDEN. Foreign Affairs, London, 1939, 8vo, cloth, with Eden's sparse annotation and highlighting; Documents concerning German-Polish Relations and the Outbreak of Hostilities Between Great Britain and Germany on September 3, 1939, London, "His Majesty's Stationery Office", 1939, 8vo, wrappers, without annotation; Duff COOPER. The Second World War. First Phase, London, 1939, 8vo, cloth, with Eden's single correction to a year on p.195 (from 1937 to 1938) and one passage of Duff Cooper's printed text quoting his own (Cooper's) article highlighted by Eden on p.207 ("Germany and Italy under their present rulers are determined to dominate by force the whole continent of Europe. If there is a man living who still doubts that fact he should lose no time in consulting a mental specialist"); L. RASKAY. How They Did It. Life Stories. Anthony Eden, London, Pilot Press Ltd., 1939, square 8vo, wrappers, second impression; Thomas MANN. This War, London, 1940, 8vo, cloth, with Eden's annotation and highlighting; Isaiha BERLIN. Karl Marx. His Life and Environment, London, 1939, 8vo, cloth, signed "Clarissa S. Churchill"; Anthony Eden. Address to the Maryland General Assembly, Annapolis, Marsh 26th, 1943, [?Annapolis, 1943], 12mo, wrappers; Your M.P. by Gracchus, London, Victor Gollancz, 1944, 8vo, cloth, dust-jacket, with a printed record of Eden's important votes in...

THOMAS MILLIE DOW (SCOTTISH 1848-1919) STILL LIFE OF YELLOW ROSES Signed with the monogram and dated 1887, oil on boardDimensions:27cm x 17cm (10.5in x 6.75in)

◆ GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PEONIES IN A BLUE AND WHITE VASE Signed, oil on canvas Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: The Fine Art Society Plc, London, Edinburgh and Glasgow, October 1987 (11383) Note: Having lost most of his early work in the San Francisco earthquake of 1906, Hunter moved to Glasgow later that year and developed a distinct approach to still life painting that encompassed art history, a sophisticated use of colour and light and a sense of serenity, all of which can be seen in Peonies in a Blue and White Vase.Hunter soon became ensconced in Glasgow’s art world, including eventual election to Glasgow Art Club. His first solo exhibition in the city, held at Alexander Reid’s La Société des Beaux-Arts gallery in 1913 proved to be a professional breakthrough, with subsequent shows mounted there attracting not only positive press coverage but also sales. As the critic of The Bailie remarked in a review of his 1916 exhibition: ‘He has three or four examples of still life that are superlatively strong. Such work is bound to live, for they show a mastery of form and colour that takes one back to the triumphs of the Dutchmen.‘ (quoted in T. J. Honeyman, Introducing Leslie Hunter, Faber and Faber Ltd, London, 1937 p. 76).The subject matter and composition of Peonies in a Blue and White Vase, with the titular flowers set in contrast to a plain background, reveal Hunter’s interest in the Dutch Old Masters that he encountered during extensive visits to the cultural centres of Edinburgh, London and Paris, as well as in the public galleries of Glasgow. His rich technique, working ‘wet on wet’, layering up colours and tones to create form and suggest the play of light on petals and glaze recalls the work of Edouard Manet, whom he is known to have admired. Sophistication is the order of the day, in the asymmetrical arrangement of the flowers and the delicate placing of a single bloom in the foreground, in an image infused with tranquillity. It was with such still lifes that Hunter came to the fore before and during World War One and which were to provide the foundation of his reputation as one of Scotland’s leading artists of the twentieth century.

◆ SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) STILL LIFE, THE JUMBLE Inscribed on the backboard 'J. D. Fergusson Paris, 1931, this board is glued to Still Life - The Jumble', oil on board Dimensions:26.5cm x 34.5cm (10.5in x 13.5in) Provenance:Provenance: Margaret Morris, the artist's wifePrivate Collection, ScotlandExhibited: Reid & Lefevre, London, Painting and Sculpture by J. D. Fergusson, February 1936, no.2T. & R. Annan & Sons, Glasgow, Paintings by J. D. Fergusson, September - October 1949, no.17L'Institut Français d'Ecosse, Edinburgh, Paintings of France and Scotland by J. D. Fergusson, February - March 1950, no. 36Royal Scottish Academy, Edinburgh, J. D. Fergusson 1874-1961: Memorial Exhibition of Paintings and Sculpture, 11 November - 2 December 1961 and tour, no.106 Note: Note: Although inscribed '1931' on the backboard, the entry for this work in the 1961 Memorial Exhibition catalogue states: 'In his Stafford Gallery one-man show of 1912 Fergusson exhibited a picture with the same title of which this may be a later re-working.' (op.cit., p.39)

§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A WHITE VASE Oil on canvasboard Dimensions:61cm x 51cm (24in x 20in) Provenance:Provenance: Acquired from The Scottish Gallery, Edinburgh in 1965 and thence by descent to the present ownerExhibited: The Scottish Gallery, Edinburgh, Anne Redpath, 19 November - 4 December 1965, no. 20Lyon & Turnbull, Glasgow, Select Works by Anne Redpath and Joan Eardley from Private Collections, 16 March - 10 April 2015Note: This painting dates from c.1964 Note: As the undisputed matriarch of Edinburgh’s art world after World War Two, Redpath’s mature career was characterised by a pattern of regular solo and group exhibitions in Edinburgh, London and elsewhere. Her professional standing continued to grow, not least by becoming the first Scottish woman artist to be elected an Associate member of the Royal Academy of Arts in London in 1960 and with the acquisition of her painting, Landscape at Kyleakin, by the newly established Scottish National Gallery of Modern Art in 1962 (GMA 814).Redpath remained as active as ever in the affairs of institutions such as Edinburgh College of Art, the Society of Scottish Artists and the Royal Scottish Academy, on whose council she served four times between 1953 and 1962. As a result, she was aware of, if not directly involved in, the presentation of contemporary European art in the annual group exhibitions staged in the Scottish capital, including the work of Georges Braque, Oskar Kokoschka and Nicolas de Staël.This keeping abreast of developments in Continental painting can be seen in the expressive handling of paint in the late work Marguerites in a White Vase. Deploying her material and using a palette - based on harmonious tones of white, blue and grey with brightly coloured highlights - as only an artist of great experience and technical ability could achieve, it is an example of the still life genre infused with joie de vivre for which she is renowned.Redpath explained about her works of this period: ‘I think I have always been interested, for instance, in the textural quality of paint and painting and while, in a way they are more abstract to see than they were before, yet they are still quite real and I don’t think they ever will be completely lost in abstraction.’ (quoted by Alice Strang, Queen of Edinburgh: Anne Redpath and her Circle, lecture given at the Scottish National Gallery, Edinburgh on 24 January 2023).Moreover, Terence Mullay declared in his review of her solo exhibition at the Scottish Gallery, Edinburgh in 1960: ‘Anne Redpath’s latest exhibition…confirms her position as one of the finest painters to-day…[Her work]…provides an admirable example of how paint can be handled with enormous verve and can be all the more exciting for being closely controlled…Above all, it is her use of colour that is so moving… Her painting appeals both to the emotions and to the head.’ (Daily Telegraph and Morning Post, 25 August 1960, p. 19) Redpath’s death in 1965 was marked in multiple ways, including memorial displays and exhibitions were mounted by the Royal Scottish Academy, Scottish Gallery and Scottish Art Club. The Scottish Committee of the Arts Council of Great Britain mounted a major touring memorial exhibition of eighty-six works, which opened in Edinburgh later that year, as did an exhibition at the Scottish Gallery in which Marguerites in a White Vase was shown; it was acquired from there by the painting’s previous owner.

§ DAME ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH 1931-2021) STILL LIFE WITH GOLD HAND Signed and dated 1994, mixed media and gold leaf on hand-made paper Dimensions:56cm x 46cm (22in x 18in) Provenance:Provenance: Mercury Gallery Ltd, London