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Only Fools & Horses - 40th Anniversary Auction - Miami Twice (1991 Christmas Specials) - Oxford made autographed 00 gauge 1/76 scale DAF 2500 ' Romanian Riesling ' lorry. The box autographed by Trevor Etienne who played the Vicar in the two-part special. Brand new. 

Only Fools & Horses - 40th Anniversary Auction - Boyce Autos - Oxford made autographed 00 gauge 1/76 scale ' Pratmobile ' Ford Capri Ghia. The box autographed by John Challis (1942-2021) who played Boycie in the series.

Only Fools & Horses - 40th Anniversary Auction - Strangers On The Shore (2002 Christmas Special) - an original production used Studio Schedule (from a script), detailing the timings of studio filming, and who has which dressing room etc. Signed to the front by Sir David Jason in black ink. Supplied with a COA from the Only Fools & Horses Appreciation Society. 

Only Fools & Horses - 40th Anniversary Auction - Boycie's E Type Jag - Oxford made autographed 00 gauge 1/76 scale white E Type Jaguar - from the Series 1 episode Go West Young Man. The box autographed by John Challis (1942-2021) who played Boycie in the series.

Only Fools & Horses - 40th Anniversary Auction - To Hull And Back - autographed 00 gauge 1/76 scale DAF 2800 ' J. Hawker Haulage ' lorry. The box autographed by Paul Barber who played the Denzil in the series. Brand new.

Only Fools & Horses - 40th Anniversary Auction - Parry Graphics & Print Ltd - Oxford made autographed 00 gauge 1/76 scale Sherpa diecast model van. The box autographed by Denis Lill who played Alan Parry (Cassandra's Father) in the series.

Only Fools & Horses - 40th Anniversary Auction - If They Could See Us Now (2001 Christmas Special) - an original production used studio programme from the recording, listing the cast and crew for those who were present. Signed to the front by x7 original cast from the episode - John Challis (1942-2021), Roy Heather (1935-2014), Tessa Peake Jones, Gwyneth Strong, Patrick Murray, Paul Barber and Sue Holderness. All signed in black ink to the front cover. A5 booklet size. With certificate. 

Only Fools & Horses - 40th Anniversary Auction - a large 3ft x 3ft floor rug made from a section of original screen-used carpet from the Trotter's flat. Used in production for the 2001-2003 Christmas Specials, the carpet can be seen at various points throughout the episodes. The carpet was owned by the Appreciation Society until recently, when it was then cut up into these rugs and professionally edged. Limited issue - one of only two larger rugs ever made. Scarce piece of Only Fools memorabilia. The carpet was used in the 2001, 2002 and 2003 episodes. After filming, the carpet was acquired by the Only Fools and Horses Appreciation Society, who subsequently displayed it at every convention and TV documentary since. The Society have recently cut the carpet into a very limited number of pieces and had them professionally bound along the edges.

Only Fools & Horses - 40th Anniversary Auction - a set of carpets for a Reliant Regal Supervan III made from the original screen used carpet in the Trotter flat, as used in the 2001-2003 Christmas Specials. The carpet has been professionally trimmed and bound the the exact shape for a Trotter Van. One of only two sets ever made. A unique opportunity to obtain some original BBC used carpet that can be used in a replica Trotter van. With certificate from the Only Fools & Horses Appreciation Society.  The carpet was used in the 2001, 2002 and 2003 episodes. After filming, the carpet was acquired by the Only Fools and Horses Appreciation Society, who subsequently displayed it at every convention and TV documentary since. The Society have recently cut the carpet into a very limited number of pieces and had them professionally bound along the edges.

Only Fools & Horses - 40th Anniversary - 'Cwyyyyying' - autographed 16x12" montage print signed by Philip Pope who played Tony Angelino the singing dustman in the episode Stage Fright. Signed in black ink to a light area. Supplied with a COA from the Only Fools and Horses Appreciation Society.

Artist- Hurst Balmford British painter born in 1871- circa 1950 portrait, landscape and seascape artist, who studied at the royal collage of art and at Julian’s art academy in Paris. Original oil on canvas Signed by the artist of the river fowey in Spate size 61cm H X 76cm W

A pair of Shropshire ash chairs, attributed to the family of Beard who worked in Willow St, Oswestry 1826-1909, displaying distinctive turned features to the rear legs (source 'The English regional chair, Bernard d Cotton)

ELEVEN ROYAL ALBERT BEATRIX POTTER FIGURES, boxed except where mentioned, comprising Benjamin Wakes Up, Cottontail, Flopsy, Mopsy and Cottontail, Gentleman Mouse Made a Bow, Hunca Munca (no box), Hunca Munca Sweeping, Mr Alderman Ptolemy, Mrs Tittlemouse (no box), Peter Ate A Radish (no box), The Old Woman Who Lived in a Shoe Knitting and Tom Kitten (11) (Condition report: all appear ok, boxes very worn)

Horse Racing. From a private collection. Titles include; The British Turf and the Men Who Have Made It. London: 1906; Custance, Henry - Riding Recollections and Turf Stories. London: 1894. Signed, limited edition; Luckman, A. Dick - Tod Sloan by Himself. London: 1915. Signed, limited edition; A Generation of Derby Winners from Pictures by Clarence Hailey. Newmarket: 1909. Photo-plates; Also - Stallions (illustrated) vols. 1 & 2 parts 1-10; etc. Condition variable but generally 'Good'. (28)

ERNI UPTON,FAVOURITE VIEW, MULL FROM NORTH IONAoil on canvas, signed, further signed and titled versoimage size 51cm x 101cm, overall size 72cm x 122cmFramed. Artist's label verso.Note: A Scot, born in Ayrshire in 1936, Erni Upton has been painting since childhood. Schooled at Ayr Grammar & Ayr Academy, much of his youth was spent with the fisherfolk of West Scotland and their boats and he still cruises these waters each year. He trained at Glasgow School of Art, where he studied under Donaldson, Mathieson and Robertson. His work reflects their influences and those of the Scottish colourists who like him, spent much time in the wonderful light and colours of the West Coast. Painting in this tradition, he works with oils on canvas, using both brush and knife. In 1985, after many years in banking, he returned to Art & Design when he established an interior design company in Shrewsbury, Shropshire. He continued to work in oils, mainly commissions for corporate and private clients, but it was not until 1999, when the company was sold, that more time became available for painting. His work is successfully shown in many galleries in England, Scotland and abroad, most recently in Istanbul, where he was invited, as a result of commission work, to have a solo exhibition at the British Embassy, and a subsequent solo at one of the premier galleries in the city. He was elected a Fellow of the Royal Society for Arts, London, in November 2004. In recent years exhibition venues have included: Rowles Fine Arts, Strathearn Gallery, Greens & Blues Gallery, Morningside Gallery, Annan Gallery, Iona House Gallery, Alpha Gallery, Queens Gallery, Gigha Gallery, Holyrood Gallery and Frames Gallery. In The Scottish Contemporary Art Auction of 9th May 2021, two Iona paintings by Erni Upton (lots 787 & 789) sold for prices of £2000 & £2800 (hammer).

* JOYCE W CAIRNS PRSA HRA HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947),FACE IN THE WARDROBEmixed media on board, signed and titled versoimage size 22cm x 21cm, overall size 49cm x 49cm Mounted, framed and under glass.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, GOMA, the British Museum, Graves Art Gallery and Museum, Sheffield, The National War Museum, Edinburgh, The Fleming Collection (London) and the McMaster Museum, Hamilton, Ontario.

* PETER HOWSON OBE (SCOTTISH b. 1958),FELIX, THE SEERoil on canvas, signedimage size 28cm x 38cm, overall size 47cm x 56cmFramed.Note: Seer - a person of supposed supernatural insight who sees visions of the future.

* OSCAR MARZAROLI (ITALIAN/SCOTTISH 1933 - 1988),THE BACKCOURT © copyright Marzaroli familysilver gelatin printimage size 38cm x 27cm, overall size 54cm x 44cm Mounted, framed and under glass.Note: Oscar Marzaroli is arguably Scotland’s most notable documentary photographer. His photographs and films of Glasgow from the 1950s through to the 1980s captured a period of enormous change with images of people going about their lives in the city, at work and at leisure. Many of the black and white images depict children playing in the streets, and many simply capture the city in bygone days. Some of his most well-known images detail Glasgow's Gorbals community in the 1960s. He was a photographer of great ability who captured the nature of the city and people with sensitivity and empathy. Whilst many of Marzaroli’s photographs of Glasgow are instantly recognisable, such as ‘The Castlemilk Lads’ or ‘The Golden Haired Lass’, Marzaroli worked all over Scotland and further afield as a photographer and filmmaker. Through portraits and landscapes, Marzaroli captured Scotland during an exceptional time when city slums were being cleared to make way for new social housing. It is said his images perfectly encapsulate the atmosphere surrounding those fundamental shifts in society. In the 1980s, his work was brought to a new audience when the band Deacon Blue used his images of the city and its people on their record covers. The cover of their debut album, Raintown, was taken by Marzaroli and depicted a rainy day over Glasgow's west end with the Finnieston Crane in the background. His death on 26 August 1988, at the age of 55, left a huge body of work - more than 50,000 photographs taken by him were gifted to Glasgow Caledonian University in August 2019. On 5th September 2019 McTear's offered a small collection of individual Marzaroli photographs and selling prices achieved included £4700, £2100, £2000, £1800 and £1700 and

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),OLD SHEDS ABOVE MONTEJAQUE (SPAIN)oil on board, signed and dated 2000image size 39cm x 48.5cm, overall size 59cm x 68cmFramed and under glass.Titled verso in the artist's hand but obscured by the backboard.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. Our most recent examples of Sheila Macmillan's paintings (from the same private collection) have achieved hammer prices of £1100 and £1700 (lot 506 12th Sept 2021 and lot 510A 24th Oct 2021).

* HANNAH FRANK (SCOTTISH 1908 - 2008),COME LOVELY AND SOOTHING DEATH (1949)lithograph, signed in pencil, titledimage size 36cm 25.5cm, sheet size 44cm x 31cm, overall size 46.5cm x 33cm Framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare pencil signed lithographs have continued to rise with many current prices being more than four times higher than those achieved less than a decade ago. The UK auction record for a Hannah Frank signed print had been £650 (achieved by McTear's) until the Scottish Contemporary Art Auction of 24th October 2021 when lots 577 & 578 each sold for £820 (hammer). Note: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of prints of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were ever signed by Hannah who found the task of numbering and signing "tiresome". A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).

* DONALD MORRISON BUYERS RSW (SCOTTISH 1903 - 2003),UNTITLEDmixed media on board, signed and dated '83image size 90cm x 80cm, overall size 105cm x 95cm Framed.Note: Donald Buyers studied at Gray's School of Art, Aberdeen from 1948-51. Soon after graduating he was employed as an art therapist with tuberculosis patients in the Aberdeen hospitals. While on honeymoon in Paris in 1955 he saw a retrospective exhibition of Picasso who, with Paul Klee became a lasting influence. Back in Aberdeen he made a living as a successful commercial artist for some years and then concentrated increasingly on his career as a painter. With three fellow artists, Eric Auld, Bill Baxter and Bill Ord, he formed the ABBO group in 1957 which was to exhibit extensively for many years throughout Scotland as well as in Newcastle and Birmingham. From 1963 to 1985 Buyers taught at Robert Gordon's Institute of Technology as well as being a visiting lecturer at Gray's School of Art. His work is represented in the collections of the Arts Council, Aberdeen Art Gallery and HRH The Duke of Edinburgh.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004),BRITTANY LANDSCAPEoil on canvas, signed, titled versoimage size 49cm x 74cm, overall size 64cm x 89cmFramed. Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed a prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, said: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues. Provenance is from a private Scottish collection.

* ANNE REDPATH OBE RSA ARA (SCOTTISH 1895 - 1965),FLORAL STILL LIFEoil on board, signedimage size 60cm x 50cm, overall size 71cm x 61cm Framed.Note: Born in Galashiels, the daughter of a tweed designer (she later described how she used flecks of colour in a manner similar to tweed makers: ‘I do with a spot of red or yellow in a harmony of grey, what my father did in his tweed’). In 1913 she studied at Edinburgh College of Art and in 1920 she married James Beattie Michie, an architect with the War Graves Commission in France, where they lived for the next fourteen years. During this time she did little painting, devoting herself to her family (she had three sons). In 1934 she returned to Scotland, living first in Hawick and then from 1949 in Edinburgh (she became gradually estranged from her husband, who worked in London). From the 1950s she attained a distinguished position in the Scottish art world and was awarded various honours. Her main subjects were landscapes and still-lifes, richly coloured and broadly handled in the tradition of the *Scottish Colourists (in her later work there is sometimes a hint of Expressionism). She travelled regularly painting landscapes in, for example, Spain and Portugal. UK Public collections hold one hundred and sixteen examples of Redpath's work.

* ANNE REDPATH OBE RSA ARA LLD ROI RBA (SCOTTISH 1895 - 1965),CABBAGE AND KALEoil on board, signed, titled label versoimage size 51cm x 61cm, overall size 64cm x 74cm Framed. Handwritten artist's label verso.Label verso: Stone Gallery, Newcastle Upon Tyne.Provenance: Sold by Sotheby's, London, 29th August 1995 lot 954.Note: Anne Redpath was born in Galashiels, Scotland, in 1895, the first daughter of a textile designer. She went on to study at the Edinburgh College of Art, where she was described as the most promising student of her year and won a travel scholarship to Italy. Her time in Italy was to have a profound influence on her career. Having spent her early years as an artist immersed in the respectable Calvinist tradition, the opulent sense of the divine in Roman Catholic art proved to be a revelation, with the religious tranquillity of the early Renaissance masters informing her subsequent paintings. In 1920 she moved to France with her husband, an architect, and her art took a back seat as she focused on raising three sons. She did not revisit painting in earnest until she returned to Scotland when the relationship ended in 1934. When she did so, however, it was with renewed vigour. From 1942 onwards, as her confidence in her abilities returned, her palette became more vibrant. She was a central figure in the group of painters known as The Edinburgh School, sometimes described as the heirs to the Scottish Colourists. Redpath was a habitual traveller in her later years, her journeys across Europe becoming the subject of her work; she was well-known for her landscapes, still lifes and pictures of church interiors. Anne Redpath was president of the Scottish Society of Women Artists from 1944-47, working tirelessly to promote the paintings of women who had been ignored by the British establishment. In 1952 she became the first woman artist to be elected to the Royal Scottish Academy as an Academician. UK Public Collections boast 116 examples of Redpath's work including at The National Galleries of Scotland, The Scottish National Gallery of Modern Art, Glasgow Museums & Galleries, The Hunterian, The Fleming Collection, The Tate, Kelvingrove, The National Trust and at Edinburgh, Aberdeen, Kirkcaldy, Manchester and numerous others.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004),A NIGHT AT THE OPERA oil on canvas, signedimage size 81cm x 86.5cm, overall size 92cm x 98cm Framed. Provenance: We are grateful to Lachlan Goudie, artist, writer, broadcaster and the leading authority on the work of his father for authenticating this painting and confirming "A Night at the Opera has been in the private collection of a long term collector of my father’s work, probably for around 40 years. The client was a keen opera fan and attended Covent Garden regularly. I believe it was a commission. The top hat was my grandfather’s. In my opinion, it's such a strong still life."Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

* GEORGE WYLLIE MBE (SCOTTISH 1921 - 2012),THE HORSEmixed metals and rope sculptureapproximately 130cm highNote: George Wyllie lived most of his life in Gourock and worked as a customs officer until he decided it was time for art and there began his pursuit of the "Question Mark". He entered into a four decade long late-flowering career as an artist, achieving international acclaim. As an untrained artist, his creative output is made even more remarkable with iconic pieces such as The Straw Locomotive, which was a full size locomotive made out of straw, suspended by the Finnieston Crane in Glasgow and the 80 foot Paper Boat. George was a remarkable artist who reached out beyond the confines of the gallery to connect with people all over the world through his wit and thought-provoking art. Wyllie described his own art as "scul?ture" because he said "the question mark should be at the centre of everything".

* SUSAN RYDER (BRITISH b. 1944),TEA TABLE WITH RED CHAIRSoil on canvas, signed, titled label versoimage size 82cm x 102cm, overall size 101cm x 122cm Framed. Handwritten artist's labels verso. Note: Susan Ryder is a member of the New English Art Club and the Royal Society of Portrait Painters, who exhibits at Panther and Hall Gallery in London where she held solo exhibitions in 2010 and 2016. Ryder lives between her home in London and Scotland, she is well known for her Interior and garden scenes as well being a leading portrait painter. Ryder was commissioned to paint the HRH The Princess of Wales and HM The Queen. Ryder's paintings rarely appear at auction but on 26th August 2020 lot 338 "Conservatory with Blue Glass" (a 76.5 x 91.5cm oil on canvas) was sold by Woolley & Wallis (Salisbury, England) for £4000 (hammer).

SOLOMON BOIM (RUSSIAN 1899-1978)Kolkhoz Cattle ,1936watercolor and gouache on paper 44 x 53 cm (17 1/4 x 20 7/8 in.)signed with initials lower right; signed, titled and dated on verso in pencil PROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in good condition. Minor wear and bumping to the perimeter. A crease to the lower right corner. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

SOLOMON BOIM (RUSSIAN 1899-1978)Friday Night,1957gouache on paper37 x 50 cm (14 1/2 x 19 5/8 in.)signed with initials lower right; further signed and dated on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in good condition. Pinholes visible to the corner of each. A large scuff to the right center edge, measuring 12 cm (4 3/4 in.) in length. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

SOLOMON BOIM (RUSSIAN 1899-1978)Rostral Column, Leningrad,1952watercolor on paper 31.8 x 43.4 cm (12 1/2 x 17 1/8 in.)signed, dated, and titled on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in age-appropriate condition. Scattered losses and rubbing visible to the perimeter. Tearing to the perimeter, largest measuring, 1.5 cm (5/8 in.) in length. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

EIGHT WORKS BY NIKOLAY SHISHLOVSKIYViews of the Pavilions of the All-Union Agricultural Exhibition of 1939,gouache on paper 26 x 36.5 cm (10 1/4 x 14 3/8 in.) [smallest], 28 x 39 cm cm (11 x 15 3/8 in.) [largest]scattered inscriptions in pencil with a visible export stamp to the recto of onePROVENANCECollection of Viktor KholodkovLOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the group appears in age-appropriate condition. Each with surface soiling, wear to the perimeter and hard creases to the corners. Visible scattered tearing visible to several of the perimeters, largest tear measuring 2 cm (3/4 in.). Not inspected under UV light.unframed Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

EDMUND ADLER (AUSTRIAN 1876-1965)Guess Who,oil on canvas laid to plaster board54 x 68 cm (21 1/4 x 26 3/4 in.signed lower rightPROVENANCEDoyle, New York, October 22, 2020, lot 1015Acquired at the above by the present ownerCONDITIONObserved in frame, the painting appears in age-appropriate condition. On the verso the plaster board as split vertically down the center. Minor surface dirt. Minor losses of paint to the upper center edge. Inspection under UV light shows surface grime around the perimeter and surface dirt overall but no apparent sign of restoration.framed dimensions: 71 x 84.5 cm (28 x 33 1/4 in.)Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

SOLOMON BOIM (RUSSIAN 1899-1978)Winter Palace ,1956watercolor on paper 31 x 43.7 cm (12 1/4 x 17 1/4 in.)signed with initials and dated lower left, signed, dated and titled on verso in pencilPROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the painting appears in age-appropriate condition. Two minor losses, one to the upper left and lower left corners. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

FAN HO (CHINESE 1931-2016)Rowing On ,1954sepia gelatin silver printfull sheet measuring 45.7 x 37 cm (18 x 14 5/8 in.)titled and numbered 1 on photographer's credit stamp, titled and numbered 2 on another; signed, dated and titled in another hand, numbered CH 2/11 in brown pencil on versoPROVENANCEMB Gallery, Palo AltoAcquired at the above by the present owners in 2007. (Copy of invoice available upon request)LITERATUREFan Ho: Hong Kong Yesterday (Palo Alto: MB Editions, Modernbook Editions Publishers, 2007), Second Edition, p. 23 (illustrated) ESSAYFan Ho is known for his very carefully composed photographs, combining a background of geometrical constructions, pattern and light. Using backlight Ho was able to create a dramatic atmosphere for each photograph. Photographing primarily the people of Hong Kong locations included streets, alleys, markets and the sea. Ho’s photographic work does not focus on the city’s buildings or monuments, rather the coolies, vendors, hawkers who sell fruits and vegetables, children playing in the street, people running errands. Capturing the common hardship and resilience of the citizens. Fan Ho’s large body of work won him close to 300 awards both locally and internationally, presenting his photographs in salons. Fan Ho is a Fellow of the Photographic Society and the Royal Society of Arts in England, and an Honorary Member of the Photographic societies of Singapore, Argentina, Brazil, Germany, France, Italy and Belgium. He most recently won a "Lifetime Achievement Award, the 2nd Global Chinese International Photography Award, China, 2015" by the Chinese Photographic Society (Guangzhou). The present lot is a prime example of Fan Ho’s prolific career and accomplished body of work.CONDITIONObserved outside of the mat, the photograph appears in good vintage condition. Ferrotyped. Creasing to the perimeter, most notably: to the center of the right edge, a vertical crease 13 cm (5 1/8 in.) long emerging from the center of the bottom edge, and to the bottom left corner. Hinged along the top corners.framed dimensions: 54 x 65 cm (21 1/4 x 25 5/8 in.) [plexiglass]Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

SOLOMON BOIM (RUSSIAN 1899-1978)The Pier,1962watercolor and gouache on paper 31 x 48.5 cm (12 1/8 x 19 in.)signed with initials and dated lower right; ruther signed and inscribed on verso in pencil PROVENANCECollection of Viktor KholodkovLOT NOTESBoim Solomon Samsonovich was a well-known Soviet artist of Jewish origin, is known mostly for his works in graphic techniques: watercolor, gouache, drawing, engraving, book illustrations and posters ("Agitplakat"). He lived in Ukraine, Leningrad, and Moscow. Studied in VKhUTEMAS from Kupreyanov. From 1926 on Boim participated in hundreds of exhibitions at home and abroad. He exhibited with such prominent artists as N. Altman, S. Chekhonin, G. Klutsis, V. Lebedev, El Lissitzky, K. Malevich, L. Popova, A. Rodchenko, V. Tatlin, P. Filonov, Stenberg Brothers, and V. Stepanova. His favorite subjects included architecture and cityscapes (mostly Leningrad/St. Petersburg and Moscow), nautical themes and the Navy, and Great Patriotic War. Boim's paintings were influenced by Socialist Realism and Russian Impressionism. Boim's works are widely recognized. They may be seen in the former Soviet Union in the Tretyakov Gallery, the Russian Museum, the Pushkin Museum of Fine Arts, and other major museums.This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed but observed in a matte, the painting appears in age-appropriate condition. A horizontal hard crease is visible to the left edge. The paper is laid down at the perimeter by artist tape. Not inspected under UV light.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

THREE PAINTINGS BY ALEKSANDRA IOSIFOVNA LIGACHYOVA (RUSSIAN 1915-1993)The Industrial Etudes,oil on boardeach 35 x 49 cm (13 3/4 x 19 1/4 in.)PROVENANCECollection of Viktor KholodkovLOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.CONDITIONUnframed, the group appears in age-appropriate condition. Each with scattered losses, tears and lifting the perimeter. A large tear visible the lower left corner and center edge of one, largest measuring, 5 cm (2 in.) in length. A hard crease visible the upper right corner of one, resulting in a fine line of craquelure. Pin holes visible to the corners of each.unframedKindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ALEXANDER SAMOKHVALOV (RUSSIAN 1894-1971)Portrait of Sergei Aleksandrovich Rinkevich,oil on canvas87.5 x 100 cm (34 1/2 x 39 3/4 in.)PROVENANCECollection of Sergei RinkevichThence by descent in the family LOT NOTESSold along a signed and notarized letter of provenance from the grandson of Sergei Rinkevich (copy available upon request)When Samokhvalov produced this work in the early 1950s, he was renowned for monumental Socialist Realist history paintings, as well as intimate portraits in interior settings, including the present and Girl in an Interior (sold for $131,000, including buyer's premium, at Shapiro Auctions, December 10, 2016, lot 7). The sitter, Professor Sergei Rinkevich, was an eminent electrical engineer and professor, best known as the purveyor of the electrical drive in the USSR. Dr. Rinkevich marshalled the founding of the world's first university department dedicated to the improvement of the drive, which, under his directorship in the 1920s and 30s, launched the rapid electrification of the Soviet heavy industry and navy.According to the letter provided by the sitter's grandson, Igor Sergeevich Rinkevich, who witnessed the making of the work, Samokhvalov painted the image over several sessions in the family's Leningrad apartment in the early 1950s. (See ref. 1 for a photograph of Igor Rinkevich together with the work). Capturing the likeness of one of the nation's distinguished scientists, Samokhvalov shows Dr. Rinkevich deep in thought, his fingers bookmarking a red volume -- a pose reminiscent of Renaissance and Baroque portraits of scholars, such as Bronzino's Portrait of a Young Man with a Book in the collection of the Metropolitan Museum. With characteristic economy of brushwork, Samokhvalov pictures his subject attentively and at a considerable scale, demonstrating his hand as a leading Soviet portraitist.Alexander Samokhvalov, one of the foremost representatives of the Leningrad school of painting, began his artistic career in 1914 at the Higher Art School at the Imperial Academy of Arts, where he studied under Kuzma Petrov-Vodkin. Unlike many of his peers at the academy and the Mir iskusstva circle, such as Eugene Lanceray, Anna Ostroumova-Lebedeva, or Alexander Osmerkin, in the late 1920s Samokhvalov enthusiastically embraced the development of Socialist Realism for which he is remembered. As in his most recognizable work — Girl in a Football Shirt, awarded the gold medal at the International Art Fair in Paris (which also exhibited Pablo Picasso's Guernica) — his paintings from the 1930s often showcase the first generation of Soviet women as the face of modernity and strength.CONDITIONUnframed, the painting is in age-appropriate condition. Very fine craquelure visible upon close inspection. Flaking resulting from craquelure visible to the left upper edge. Rubbing resulting in scattered losses to the corners and perimeter. Inspection under UV light shows no signs of restoration.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ARMENIAN PAINTED WOODEN DOORthe wood carved door with metal demi-lune architectural details, metal loops that were once attached to the armachure visible to the left, the looped metal handle to the center right next to a keyhole, centered, Madonna and Christ the Child, dressed in black Madonna behind Christ the Child, who is dressed in orange stands in front with his hands in acceptance position, both with red halos against a wood ground, below a sea with ships and above other holy figures with a banner in white with lettering, signed lower right corner; dimensions: 207 x 80 cm (81 1/2 x 31 1/2 in.)CONDITIONThe door is in stable age-appropriate condition. Fading visible to the painted scene. The door with splintering, and unevenness as reflected in photographs.Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

ELIZABETH CATLETT (AMERICAN-MEXICAN 1915-2012)Nino Papalero,1947lithograph full sheet measuring 33 x 25.4 cm (13 x 10 in.)signed lower right, inscribed with edition 40/31 lower leftLOT NOTESThe foremother by subsequent generations. Residing in the United States and Mexico, Catlett produced an unparalleled body of politically charged and compelling graphic and sculptural works. Catletts body of work was influenced from her grandmothers who told her stories of slavery, from her mother she head about the realities of life in the slums. These stories shaped her understanding of what life was like in the United States for black people, aware of the exploitation that black people experienced created the groundwork for her artistic vision. In 1942 Catlett moved to New York City, she became immersed in the milieu of the City’s leading African American artist community. Later Catlett worked as a promotion director and instructor of sculpture and sewing at the George Washing Carver People’s School. While working at the night school, Catlett became seemingly aware of the way her students’ lives were shaped by their social and economical circumstances. This deepened her awareness of the privileges she was afforded. Catlett, who was deeply moved by the young women, noted these women with the term, “cultural hunger”. Inspired by her students, Catlett was awarded with the Julius Rosenwald Fund Fellowship, to produce a series of work [prints, paintings and sculpture] on the subject of “The Negro Woman”. The series was completed in Mexico, after Catlett moved to Mexico City to establish a permanent residence. The series, “The Negro Woman” was completed in 1947, consisting of fifteen linocuts, creating a chronicle of oppression, resistance and survival of African American women. Around the same time period, Catlett created series and sculptures depicting mother-and-child themes. It is evident in Catlett’s body of work that she was interested in showing the social and economical struggles people of color endured.CONDITIONUnframed, the work appears in good condition. The sheet is laid down. Minor toning and scattered tears to the perimeter.framed dimensions: 53 x 43 cm (20 7/8 x 16 7/8 in.) Kindly note, the auction is comprised of two sessions:Session I: Russian and Asian Art, Antiques and Jewelry, lots 1-331Session II: European, North and South American, and Ethnographic Art, Antiques, Jewelry, and Design, lots 500-827N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.

The ex-London Motor Show1961 Aston Martin Lagonda Rapide SaloonRegistration no. Not UK RegisteredChassis no. LR/105/ROffered without reserve•Retained by the factory as a demonstrator and development car•Known ownership history•Factory-fitted DB6 engine•Automatic transmissionFootnotes:'It has long been my ambition to produce a car which would be equally suitable to drive or to be driven in, great comfort, large luggage carrying capacity yet still be exhilarating to the owner driver and capable of effortless sustained high performance. There is such similarity between modern cars that one is fearful of the day when all will look, and be, alike.' - David Brown on the Lagonda Rapide.Aston Martin revived the famous Lagonda name in 1961 with a luxurious four-door sports saloon – the Rapide – that took its appellation from one of the marque's most exalted models of the late 1930s. It had been David Brown's intention that the Rapide should be the 'most mechanically advanced car available', offering effortless acceleration to 130mph. Beneath the Rapide's Superleggera aluminium coachwork (by Touring of Milan, the carrozzeria responsible for the Aston Martin DB4 sports car) was a lengthened (by 16') DB4 platform-type chassis reconfigured to accept De Dion rear suspension, the adoption of which allowed rear compartment space to be maximised. Powered by a 4.0-litre (236bhp) version of the Aston Martin DB4's twin-cam 'six' that would later power the DB5 and DB6, the Rapide certainly lived up to its name with brisk acceleration and a 130mph-plus top speed. Dual circuit, servo assisted disc brakes restrained this excellent performance, while fittings to the traditional interior included electric windows, picnic tables to the rear, filler cap remote opener, and a radio as standard. The Rapide's price when new was £5,000, some 25% higher than that of the Aston Martin DB4, which itself was not exactly a cheap automobile. A mere 55 units, almost all of which were equipped with Borg Warner three-speed automatic transmission, were built before production ceased in 1964. Today, 47 of the original 55 Rapides are known, 'LR/105/R' being the fifth built. Displayed at the 1961 London Motor Show and kept by the factory as a demonstrator and development car, '105/R' was first registered to Aston Martin Lagonda Ltd (as '92 MY') on 11th October 1961. Its original colour scheme was Dubonnet with fawn leather interior trim. On 10th December 1962 the car was registered to David Brown Tractors Ltd followed by AML Ltd (for the second time) on 7th February 1967. Later that same year the Lagonda was registered to its first private owner, Thomas Crumbie of Leicester. Mr Crumbie was followed by Cavendish Press Ltd of Leicester and then Peter Biggs of Cambridgeshire, who is the previous keeper listed on the accompanying V5C document (please note that, as the car was subsequently exported, an application will need to be made to retain the registration number). Registered to Desmond J Smail Ltd, '105/R' was sold by them to the current vendor in November 2010. Copies of factory paperwork on file record the fact that the engine (originally '400/105') has been changed twice by the factory, the unit currently fitted ('400/1655') being that of a DB6, as is the Borg Warner Type 8 automatic gearbox. Interestingly, the AMOC Register states that '105/R' was treated to a modified front end and changed from a De Dion to a 'beam' rear axle by the factory, and that it is the only example of the proposed Mark 2 series. Its provenance and unusual specification make 'LR/105/R' an extremely interesting and significant example of this rare and wonderful car, which was the personal project of David Brown himself. The Rapide has been on static display for a number of years and will require recommissioning prior to road use. Please also note the Lot will attract the reduced 5% import tariff if it is to remain in the UK.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

1965 Aston Martin DB5 4.2-Litre Sports SaloonRegistration no. GPA 655CChassis no. DB5/1845/R•Matching numbers•Only four owners from new•Professionally restored from 'barn find' condition 2014-2018•Concours condition•The most famous of all 'James Bond' Aston MartinsFootnotes:'Racing has played a major part in the development of all Aston Martin engines since Frank Halford designed the original 1.5-litre unit for Bamford & Martin. The 3,995cc 6-cylinder light alloy engine fitted to the DB5 is in all major respects the same as that which powered the 4-litre prototype which ran in the 1962 and 1963 Le Mans 24-Hour races.' – Autocar, 21st May 1965.Aston Martin's post-war evolution had taken a giant step forward in 1958 with the launch of the DB4. Classically proportioned, the Touring-designed body established an instantly recognisable look that would stand the marque in good stead until 1970 and is still being referenced in today's Aston Martins. At its launch in October 1958, the DB4 marked a major turning point for Aston Martin as it was the first car of the David Brown era which neither used a chassis derived from the experimental Atom of 1939 nor an engine co-designed by W O Bentley. Moreover, it was the first Aston Martin to carry Carrozzeria Touring's 'Superleggera' bodywork, in which light alloy panels were fixed to a supporting framework of light-gauge steel tubes. Although styled by Touring, the DB4's gorgeous fastback coachwork was built under license at Newport Pagnell by Aston Martin, which employed some of the finest panel beaters in the industry. The result was a car whose sleek lines were described as 'unmistakably Italian and yet... equally unmistakably Aston Martin'. When the DB4 was introduced, it was Britain's most powerful and fastest production car, and its aerodynamically styled, all-aluminium, Superleggera coachwork looked sensational, establishing a look that would endure for the next dozen years. Touring's Superleggera body construction had been deemed incompatible with the DB2/4-type multi-tubular spaceframe, so engineer Harold Beach drew up an immensely strong platform type chassis for the DB4. The DB2/4's trailing-link independent front suspension gave way to unequal-length wishbones while at the rear the DB4 sported a live axle located by a Watts linkage instead of its predecessor's Panhard rod. The Aston Martin DB4 was also the first of the DB models to employ the entirely new engine designed by Tadek Marek, which had first been seen at Le Mans the previous year in the DBR2. A Polish engineer who had joined the company in 1954, Marek had previously enjoyed a racing career and posts with General Motors and FIAT in Poland. He had designed tanks during WW2 and had arrived at Newport Pagnell from Austin. An all-alloy, twin-overhead-camshaft six like its predecessor, Marek's new 3,670cc engine featured 'square' bore and stroke dimensions of 92mm and developed its maximum power of 240bhp at 5,500rpm. The David Brown gearbox was a new four-speed all-synchromesh unit.Five (unofficially designated) series were built as the model gradually metamorphosed into the DB5. Introduced in July 1963, the Aston Martin DB5 boasted a 4.0-litre engine, this enlarged unit having been seen first in the Lagonda Rapide of 1961. Equipped with three SU carburettors, the '400' engine produced 282bhp at 5,500rpm and was mated to a four-speed/overdrive gearbox, a 'proper' ZF five-speed unit being standardised later. The DB5's distinctive cowled headlamps had first appeared on the DB4GT and the newcomer was the same size as the lengthened, 'Series V' DB4. Outwardly there was little to distinguish the DB5 from the last of the DB4s apart from twin fuel filler caps, though these had already appeared on some cars. Beneath the skin, however, there were numerous improvements including alternator electrics; Girling disc brakes instead of Dunlops; Sundym glass; electric windows; and an oil pressure gauge as standard equipment. From September 1964 the 314bhp, triple-Weber Vantage engine became available and was fitted to a total of 95 cars. The DB5 was also offered in convertible form (the 'Volante' name would not be applied to the soft-top Aston until the DB6's arrival), while independent coachbuilder Harold Radford offered a shooting brake conversion. 1,021 DB5s were manufactured between July 1963 and September 1965, a total that included 123 convertibles and 12 shooting brakes. The DB5 was the first and remains the most famous of all the 'James Bond' Aston Martins, having appeared in no fewer than five movies of the series beginning with Goldfinger in 1964. Equipped with rocket launchers and sundry other gadgets, 007's DB5 was finished in Silver Birch with red interior, in which specification it was later issued by Corgi Toys. This matching-numbers DB5 has had only four owners from new. The Aston spent 32 years off the road before being rescued as a 'barn find' some seven years ago. It was then treated to a body-off, chassis-upwards, full restoration by renowned marque specialist Rikki Cann, which took four years to complete and included rebuilding the engine to 4.2 litres capacity. The restoration cost almost £400,000 and is fully documented by invoices and photographs. Finished in its original exterior colour of Dubonnet Rosso, with Magnolia hide trim, and described by the private vendor as in concours condition throughout, 'GPA 655C' represents a wonderful opportunity to own what for many enthusiasts is the ultimate Aston Martin. For further information on this lot please visit Bonhams.com

1937 Jaguar SS 100 3½-Litre Sports TourerRegistration no. CKF 888Chassis no. 18066•One of only 314 SS 100 models made•Originally a 2½-Litre car•Present ownership since 1990•Carefully stored for the last 25 yearsFootnotes:Launched for 1936, the SS100 was the first real high-performance model produced by SS Cars Limited and used a new Weslake-developed overhead-valve engine in a shortened SS1 chassis. The introduction of the OHV unit was considered to justify the adoption of a new name for the series, SS Cars boss William Lyons later recalling 'I immediately pounced on Jaguar as it had an exciting sound to me.' ('Jaguar' would be adopted as the marque name in 1943, 'SS' having by then acquired a somewhat tarnished reputation).'SS' originally stood for the Swallow Sidecar & Coachbuilding Company, which had been founded in Blackpool, England by William Walmsley. The company branched out into motor manufacture in 1926, its first major success being an attractive sports saloon on the Austin Seven chassis, the design being the work of Walmsley's partner, one William Lyons. Relocation to Coventry followed and the Swallow range expanded to include models on Morris Cowley, Wolseley Hornet and Standard Sixteen chassis. Marque status arrived in October 1931 with the launch of the SS1, the chassis of which was supplied exclusively to Swallow by Standard, who also provided the six-cylinder sidevalve engine and four-speed gearbox. Although unspectacular in performance, the SS1 went some way towards establishing the pattern for future Jaguars, combining sporting good looks with a better-than-average specification and all at a bargain price. By the time the SS90 sports car arrived in 1935, William Heynes had joined as Chief Engineer. Based on a shortened SS1 chassis, re-engineered by Heynes, the SS90 again demonstrated Lyons' consummate skill as a stylist, its long bonnet, smoothly flowing wings, cut-away doors and truncated tail making it every inch the epitome of the 1930s sports car. Although good for 90mph, the SS90 was handicapped by the limitations of its sidevalve engine, a deficiency that would soon be rectified by another of Lyons' new recruits, gas-flow consultant Harry Weslake. Launched in 1936 alongside the 2½-Litre saloon, the SS100 Jaguar sports car marked the company's first use of the 'Jaguar' name. Beautifully styled in the manner of its SS90 predecessor, the newcomer employed a shorter, 102'-wheelbase chassis and a revised version of the 2,663cc Standard six which, equipped with Weslake's overhead-valve cylinder head and breathing through twin SU carburettors, now produced 104bhp. Although a fine touring car, the SS 100 was marketed as primarily for competition work. Its first major success came early, if somewhat unexpectedly, when Tommy Wisdom, crewed by his wife, won the arduous International Alpine Trial in 1936, beating Bugatti and bringing the fledgling marque to the attention of the Continental public. This would be the first of many successful rallying forays, including class wins in the RAC events of 1937 and 1938, and the Alpine (outright) again in 1948. Around 198 2½-Litre and 116 of the later 3½-Litre cars had been made by the time SS 100 production was prematurely ended by the outbreak of war.Originally a 2½-Litre model, chassis number '18066' is one of only 314 SS 100s built. The car was supplied new in 1937 to Henlys, Jaguar's main distributor in London, for use as a demonstrator and show car (see Jaguar Heritage Trust Certificate and letter on file from the Jaguar Enthusiasts Club, dated 27th March 1990). 'CKF 888' was purchased by the vendor's deceased husband at auction in February 1990 (bill of sale on file). It appears to have been imported into the UK earlier in 1990 (there is a photocopy C&E 386 form in the document file) while a plaque on the dashboard appears to relate to a previous owner: Dwight F Brooks of Pasadena, California. After acquisition, the late owner retrieved the original registration and appears to have had significant work carried out on both the bodywork and mechanicals, as evidenced by various invoices in the history file. Some of these invoices refer to parts for a 1947 3½-litre engine (the 'S' number prefix of the car's engine identifies it as such). Photographs in the history file show the car with the body removed, and also parts of the running gear. Following the work's completion, the car was used on an occasional basis for shows and ralliesThis car, along with others from the same vendor, has been standing for up to 25 years and like the others, was running and usable when laid-up. The vendor's husband died in 1996, and his collection of cars remained mostly unused from that time. They were all stored in a purpose-built, heated and dehumidified building, which the deceased gentleman had commissioned solely for the purpose of storing his cars. Having been standing for that period of time, they will require careful re-commissioning and safety checks prior to use by a new owner. Accompanying documentation includes a current V5C; two expired MoT certificates; miscellaneous papers; and the aforementioned copy C&E 386, invoices, and JEC letter. There is also a copy spare parts list and copy instruction book with the car, which is presently on SORN. It should be noted that the V5C erroneously records the engine number as '5529'. The SS100 was one of the fastest and best-handling sports cars of its day, as its competition record both before and after the war bears witness to. Representing a rare opportunity to acquire an example of the model that can be said to have started the Jaguar legend, '18066' is eligible for a wide variety of the most prestigious historic motor sports events.For further information on this lot please visit Bonhams.com

1970 Aston Martin DB6 Mark 2 Vantage Sports SaloonRegistration no. Not UK RegisteredChassis no. DB6 MK2/4241/ROffered without reserve•One of 71 DB6 Mark 2 Vantages•Long-term AMOC member ownership (1974-2012)•One of only three DB6 Mark 2s in Bahama Yellow•Featured in the factory's Millennium Calendar, 'A Celebration of Craftsmanship'Footnotes:Introduced in July 1969, the DB6 Mark 2 incorporated many components shared with the new DBS, most obviously the latter's wider wheels, which necessitated flaring the front and rear wheelarches. All Mark 2 Vantages came with the highest (325bhp) 'C' state of tune, while all cars benefited from power-assisted steering as standard. Production lasted until November 1970, during which time only 240 DB6 Mark 2s were manufactured, 71 of which were to Vantage specification. Chassis number '4241/R' is one of only three DB6 Mark 2s originally finished in Bahama Yellow and the only example to have the high-performance Vantage engine. The Aston was first registered (as 'UKX 644J') on 1st December 1970 and retailed by Maurice Leo Ltd. In July 1974 the DB6 was acquired by AMOC members Mr & Mrs Ian Moore of Middlesex (also owners of a DB6 Mark 1), who would remain its custodians for the next 38 years. The Moores had purchased 'UKX 644J' from sometime Wiscombe Park competitor and commentator C A R Elwell, the first owner's son-in-law. Thereafter the Aston was used sparingly, seldom, if ever, venturing out in the rain. The current owner purchased 'UKX 644J' via a UK auction in April 2012, by which time the car had covered only some 38,800 (warranted) miles from new. At that time the DB6 was described as 'never allowed to deteriorate to the point of needing restoration', while its exceptionally original 'time warp' condition (paintwork, upholstery and major mechanical components) was also commented on favourably (2012 catalogue description on file). The engine was said to start readily and show over 100psi oil pressure when warm. A measure of this DB6's then exceptional quality may be gained from the fact that Aston Martin archivist and historian, the late Roger Stowers, selected 'UKX 644J' for inclusion in the factory's Millennium Calendar, 'A Celebration of Craftsmanship'. This wonderful and extremely rare DB6 is offered with an old UK V5C Registration Certificate and a copy of the 2012 purchase invoice. Please note the car will be subject to the reduced import tariff of 5% if it is to remain in the UK and, as it has been on static display for the past nine years, will require recommissioning prior to road use.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

1964 René Bonnet Djet II CoupéRegistration no. EBY 375BChassis no. CRB11108Offered without reserve•One of 181 produced•Revolutionary French sports car, the worlds first mid-engine production car •Property of motoring historian and author David Blumlein•Featured in Classic Car magazine (November 2007)•Single ownership since 1992Footnotes:In partnership with Charles Deutsch, René Bonnet first tried his hand at motor manufacturing in 1939 with a Citroën-based special, though further serious progress was curtailed until 1945. The duo formed Automobiles DB in 1949, turning to Panhard for engines and suspension components that would form the basis of a highly successful series of Le Mans class-winning sports prototypes and index of performance from the mid-1950s onwards. In 1961 the partnership split, Deutsch continuing with Panhard-based cars while Bonnet turned to Renault. One of Bonnet's first offerings was the stylish Djet, one of the first ever mid-engined road cars, though most examples ended up on the racetrack. A French motoring milestone, the Djet was powered by a 1,100cc Renault engine producing 70bhp in standard trim or 95bhp with Gordini tune, while beneath the typically slippery glassfibre coachwork there was a tubular backbone chassis, all round independent suspension, and four-wheel disc brakes. The René Bonnet is certainly a car for the cognoscenti, not to be confused with the later and differing Matra, Just 181 René Bonnet's were produced. This Djet II has belonged to motoring historian and author David Blumlein since he imported the car in the early 1990s. He purchased the car from Patrick Roux in Lyon who had used the car for regional rallying. Since its arrival in the UK, the Djet has been stored, run and used by Andrew Owler of the Matra Enthusiasts' Club. Dated July 2020, Classic Assessments' report on file states the vehicle appears to be in good condition externally, with paintwork re-sprayed at some time. The interior likewise was said to be in good order, including the seats, door trims and dashboard. The report continues: 'Mechanically, the original engine type has been overhauled and bored out to 1149cc and two twin choke Weber carburettors have been fitted. The engine, transmission, brakes, steering and suspension are reported as being in very good working order and having undergone considerable reconditioning and overhaul. The vehicle is considered to be a well prepared and highly useable example...'. Other noteworthy features include a close-ratio gearbox and a 'quick' steering rack. While it does not retain its original engine, the engine fitted is the correct type and benefits from a Gordini cross-flow cylinder head. Featured in Classic Car magazine's November 2007 edition (photocopy available), this delightful French rarity is offered with numerous bills for servicing work carried out over the years, a fresh MoT and a quantity of old MoTs and assorted correspondence.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

Property of a Deceased Estate1933 Talbot AV95/AV105 Alpine Team Car ReplicaRegistration no. EP 5451Chassis no. 35071•Effective pre-war rally car•Converted to AV105 Alpine Team Car specification by Ian Polson•Used on numerous Continental rallies•Requires re-commissioningFootnotes:Talbot's reputation for producing highly effective competition cars owed a lot to the efforts of the Tolworth based motor dealership and racing preparation specialists, Fox & Nicholl, which looked after the works team from the beginning of 1930 to the end of 1932. The Fox & Nicholl Talbot 90s had dominated the 3-Litre class in prestigious international events such as the Le Mans 24-Hour race, despite displacing only 2.3 litres. For 1931, designer Georges Roesch produced a new car with a full 3-litre engine, which was lighter than its 2.3-litre predecessor and featured much larger valves in a staggered layout, giving improved breathing, the new model being named the AV105.Famously registered 'GO 51' to 'GO 54' consecutively, the four Fox & Nicholl Talbot 105s enjoyed an outstanding run of successes during the 1931 and 1932 seasons. Highlights of the latter included 1st, 2nd and 3rd in class at the Brooklands 'Double Twelve' in 1931; 3rd overall at Le Mans and 1st un-supercharged car in 1931 and 1932; 1st, 2nd and 3rd in class in the Brooklands 500 in 1931 and 1st and 2nd in 1932; and 1st and 2nd in class at the TT in 1931 and 1932. There was also a glorious failure in the Mille Miglia in 1932 when a lone entry crashed after 900 miles when in 4th place overall.In addition to its racetrack successes, the AV105 proved to be a formidable rally car. Roesch had always tested his cars in the Alps so it was no surprise when journalist Humfrey Symons borrowed an example to compete in the 1931 Coupe des Alpes (Alpine Rally). He lost no marks and won a Coupe des Glaciers, the highest possible award for a single entry. The following year a more serious bid was mounted and a team of three tourer-bodied AV105s were prepared for the 1932 event by Fox and Nicholl. These cars were extremely successful, finishing without any penalties, and winning the Coupe des Alpes outright. Another AV105 team, this time with paired down cycle winged four-seater bodies (the famous 'BGH'-registered cars) repeated the feat in 1934. The 'BGH' cars were the ultimate development of the competition Talbot and as such arguably represent the ultimate pre-war British racing sports car. Originally an AV95 saloon, this car was bought in the 1990s by renowned marque specialist Ian Polson from Talbot historian James Fack, who had found it on the Welsh coast. By then the car had already lost its body but was fundamentally a good, very complete, low-mileage example. Since a 95 is very close to an AV105 - it only has a taller radiator and slightly longer wheelbase - the decision was made to fully restore the car and convert it into a replica of the very successful 'BGH' team cars from the 1934 Alpine Trial. This was done as accurately as possible: lower radiator and bulkhead, and chassis shortened to 9' 6', these works being done in 1998 when the car was sold to the late owner. The Polsons finished the project for the owner in 2001 (see invoices and correspondence on file). Subsequent work and maintenance was carried out on the car by various specialists local to the deceased. Since its completion, the Talbot has been used on numerous Continental rallies including the Coppa Milano, Route of St James, etc. Unused for the last couple of years due to ill health, 'EP' will require re-commissioning before serious use. When inspected recently, the car started readily and ran cleanly on all six cylinders, displaying good oil pressure. The car was driven for a short distance in first and reverse and appeared to perform nicely.Now as then, a 'BGH' Alpine Team Car replica is an excellent pre-war-era rally car, ideally suited to popular events such as the Flying Scotsman, Shamrock, and 1000 Mile Trial rallies.For further information on this lot please visit Bonhams.com

1953 Lancia Aurelia B20 GT Series III CoupéRegistration no. 991 HYPChassis no. B20-2730•Iconic Italian Gran Turismo•First owned by Adnan Khashoggi•Present ownership since the 1990s•Extensively restored•Up-rated (140bhp) engine•Recently re-commissionedFootnotes:Introduced in 1907, the Vincenzo Lancia's first car showed an independence of thought and defiance of convention that would remain associated with the marque well into the modern era. Lancia recommenced production after WW2 with the Aprilia and its smaller cousin the Ardea, but waiting in the wings was yet another groundbreaking design: the Aurelia. Lancia's classic Aurelia, the first car ever to employ a V6 engine, was launched at the 1950 Turin Motor Show. Designed in wartime by Francesco de Virgilio, the 1,754cc 60-degree V6 was of all-aluminium construction and used overhead valves operated via short pushrods instead of Lancia's traditional overhead camshafts. An advanced unitary construction design, the Aurelia retained Lancia's 'sliding pillar' independent front suspension, first seen on the Lambda, but used a novel semi-trailing arm layout at the rear, another world first. The transmission too, was unusual, comprising a two-piece prop-shaft and combined gearbox/rear transaxle on which were mounted the inboard brakes, though for once this was not an entirely new departure. The B10 saloon was joined the following year by the Pinin Farina-styled B20 Coupé, a fastback '2+2' on a shortened wheelbase which, with its combination of sports car performance and saloon car practicality, can be said to have introduced the Gran Turismo concept to the world. The Aurelia engine had been increased to 1,991cc in 1951 and it was this unit in up-rated form that went into the B20. Lighter and higher geared than the saloon, the B20 was good for a top speed of over 100mph. Stunning the motor racing world, a mildly race-developed B20 driven by chain-smoking, brandy-swigging Giovanni Bracco finished 2nd in the 1951 Mille Miglia, beaten only by Luigi Villoresi's 4.1litre works Ferrari! It is worth noting that the nimble Aurelia was actually faster than the Ferrari over the mountain passes north of Florence. Introduced in 1953, the 3rd and subsequent series B20s were powered by a 2,451cc, 118bhp version of the pushrod V6, while 4th-series onwards cars had De Dion rear suspension instead of the original semi-trailing-arm arrangement. The Lancia factory publication, 'The History of Lancia 1906-1989', states that 1,231 2.0-litre B20 GTs were produced (Series I and II) plus a further 1,880 2½-litre cars (Series III to VI). An engineering tour de force clothed in sublime coachwork by Italy's foremost carrozzeria, the Aurelia B20 represents for many the zenith of Lancia's post-war production.This B20 GT's original owner was Adnan Khashoggi, the Saudi Arabian businessman known for his controversial business deals and lavish lifestyle. The original registration was '7 AMK', which presumably was retained when the car was sold. The original logbook shows the date of first registration as 4th January 1954 and Khashoggi as first owner. The registration later changed to the current '991 HYP'. The vendor purchased the Aurelia in the 1990s from Tim Burrett, who had had it stored in a barn for many years. The vendor stripped the car and the body was restored by marque specialists Tanc Barrett and painted twice, latterly and to a very high standard by Autocraft in Telford. The exterior colour was originally two-tone grey (as it was when the car was acquired by the vendor) and is now Lancia dark blue.The B20's standard front seat is a split bench type. These original seats are freshly trimmed in grey leather with all original runners, etc and come with the car, but there are currently two period style bucket seats fitted, improving the driving position. These bucket seats were available at the time, and it is understood that both the Hawthorn and the Fangio cars had them, as did some of the works competition cars.This car's cylinder block has been changed to later Series IV block, which uses Vandervell bearings rather than the Series I/II/III white metal bearings which are more difficult to renew. The engine's external appearance is the same. The engine has been dynamometer tested to produce over 140bhp and excellent torque at 5,000rpm. This is considerably more than the standard unit's claimed 118bhp, which in most cases was nearer 100 in reality. The engine has been rebuilt with a Nardi-style up-rated camshaft, modified flywheel, and twin-choke Weber carburettors as per the works cars, and has been balanced. The engine spent around 8-10 hours on the test bed at Tim Adams Racing and since then has probably done no more than five hours in the car. The test sheets are available, and with its more powerful engine we are advised that this Aurelia goes very well. The transmission was rebuilt by Tim Burrett with new first/reverse gears and bearings, etc. The transmission likewise has done only five hours since the rebuild and is said to have an excellent gear change and synchromesh. A floor change has been fitted rather than the standard column change. Brakes are Series VI twin-leading-shoe at the front, which was a common modification in the day and a big improvement. The wheels fitted are similar to the original style but the rims are to suit 15' tyres, which gives a much greater tyre choice than standard (the original wheels and aluminium hubcaps are included in the sale).The Aurelia has been standing for a little over two years, but in the last few weeks has been re-commissioned by CMC and we are advised is once again running and stopping well. Overall a sensibly upgraded and smartly presented example worthy of the closest inspection.For further information on this lot please visit Bonhams.com

1959 Alfa Romeo Giulietta SprintRegistration no. 330 XVNChassis no. 149309141Offered without reserve•Original European left-hand drive example•Finished in Bianco Nube with a blue vinyl/light grey cloth interior •One owner from 1966 to 2012, an incredible time warp•Formed part of world-class collections•Wonderful history fileFootnotes:Following the ravages of war Alfa Romeo regrouped, equipping their rebuilt factories with the latest machinery to enable them once again to become a major manufacturer on the world stage. An all-new business plan was devised to gear up production and the 1,290cc Giulietta emerged to fulfil those ambitions. In best Alfa Romeo tradition, a twin-overhead camshaft engine was to power the new model, the smallest engine size ever offered by the company but yet, in standard form, developing a more than healthy 80bhp. The unit installed is a correct specification replacement and an early variant with gear driven fuel-pump. Although offered as a four-door saloon it was the sporting Bertone-styled Giulietta Sprint which captured the Italian sporting motorists' heart with its neat and functional styling turning heads from absolutely every angle. A mildly developed Veloce engine was offered as an option giving 90bhp and providing a top speed in excess of 100mph. Handling was enhanced by independent front suspension with coil springs and wishbones with coil spring, radius arms, and A-bracket at the rear. The model ceased production in 1965 following an eleven-year run. This delightful Giulietta Sprint 750B dates from 1959 and was built in left-hand drive for the German market. Later that year, it was sold by Auto Freidrich in Frankfurt to its first owner. The early ownership details are unknown but on 1st July 1966, it was acquired by Douglas Foon Gee of Bellevue, Washington State, who evidently loved the little Alfa as he was to own it until August 22nd, 2012, a total of 46 years. It is believed the original engine suffered from frost damage whilst in his ownership. In 2017 it was sold to Axel Schuette and subsequently joined a significant private collection in Germany. The condition genuinely needs to be seen to be fully appreciated. This beautiful Alfa has been cherished and has retained such a remarkable quality throughout. The odometer readying of circa 59,000 km (circa 37,000 miles) is thought to be original. In October this year it was sent to respected Alfa specialist Chris Robinson who carried out a extensive service, including work to brakes, steering, suspension, fuel pump etc. During this work the sump was removed to assess the internal condition of the engine. He found evidence of a recent rebuild. Invoices for the Robinson work are on file totalling £1,460.It is supplied with its original Alfa pouch containing the Certificato di Origine, Owner's Manual (in German), a number of US Certificates of Title, the spare keys and the original jack.Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

2015 Ferrari FF CoupéRegistration no. Not RegisteredChassis no. ZFF73SKT2F0207525Offered without reserve•Built in 2015 and purchased in 2017•Left-hand drive•Well specifiedFootnotes:Traditionally, Ferrari's four-seater models had offered little more than '2+2' accommodation, but in 2011 the Prancing Horse finally grasped that particular nettle and introduced its first car capable of carrying four adults in reasonable comfort: the FF. And as if that wasn't enough, the FF was also the first Ferrari production car to incorporate four-wheel drive. Introduced at the Geneva Salon in March 2011, the FF effectively replaced the 612 Scaglietti in Ferrari's range, though featuring a three-door shooting brake-style body rather than its predecessor's traditional two-door fastback. The FF was designed at Ferrari Styling Centre under the direction of Flavio Manzoni, who remarked that, apropos of its development: 'the challenge resides in coming up with a completely new shape while staying true to the values Ferrari stands for'. Few would deny that Manzoni and his colleagues had succeeded brilliantly. At the time of its introduction, the FF's 6.3-litre normally aspirated V12 was the largest engine ever to feature in a production Ferrari, its 651 horsepower being sufficient for a top speed of 208mph, making the FF the world's fastest four-seater at the time of its introduction, according to Maranello. 'The FF doesn't feel as insanely ballistic as a 599 GTB in the lower gears' observed Autocar, 'but in third and above it's mighty, and since 80 per cent of the engine's 504lb/ft of torque is available from 1,750rpm, it feels every bit as effortless as a serious GT should'.'Consequently the 0-62mph sprint is dispatched in just 3.7sec, and the FF can power on to a top speed of 208mph. More impressively, against the clock the FF accelerates from 0-124mph in 11.0sec, exactly matching Ferrari's claims for the 599 GTB – despite that car's superior power-to-weight ratio.' Clearly, Ferrari had not traded away any measure of performance in developing its first practical four-seater. And that shooting brake body with its rear hatch did make the FF an impressive load carrier, affording a capacity of 800 litres with the rear seats folded down. Needless to say, the sumptuous leather-trimmed interior stood comparison with world's very best luxury saloons; premium air conditioning and a navigation/audio system were standard, with five suspension/chassis modes selectable via the steering wheel-mounted manettino knob. But the main talking point of the FF was its novel four-wheel drive transmission which, unlike conventional systems, did away with a central differential, an approach that afforded a significant reduction in weight. Known as '4RM' by the factory, this system employed a second gearbox with only two forward speeds plus reverse, located at the front of the engine. For most of the time the FF employs rear-wheel drive only, and when power does need to be fed to the front wheels it is transmitted to the forward gearbox via a pair of clutches. The forward gearbox's ratios do not correspond with those of the main seven-speed semi-automatic 'box, so the clutches are slipped, effectively acting as a front differential while at the same time providing torque vectoring for better handling.According to Car & Driver: '... the first roadgoing Ferrari to put power to all four wheels doesn't understeer like so many other four-wheel-drive sports cars. It's actually mostly neutral through corners. Ferrari engineers repeatedly explained to us that the front wheels are used mostly for traction in bad weather and that power is otherwise shunted to the rear wheels as much as possible.' Priced at £226,000 in the UK at time of launch, the FF remained in production until 2016. Finished in Grigio Alloy with Iroko leather interior, this superb example was built it 2015 and sold via the local Ferrari agent to the current vendor – apparently as a new car – on 20th June 2017. Specification highlights include the following:Yellow brake callipers Coloured upper dashboard 20' forged diamond wheel rimsLeather headlinerColoured steering wheel'Scuderia Ferrari' shieldsColoured safety beltsFront grille with chromed edgesSport exhaust pipesFire extinguisherYellow instrumentsVentilated full electric seatsLeather parcel shelfHigh power hi-fi systemRepresenting a wonderful opportunity to own one of Ferrari's landmark, four-seater, four-wheel-drive supercars, this stunning FF comes with copies of the sales invoice and specification sheets. The FF has been on static display since acquisition and will require recommissioning prior to road use. Please also note the Lot will attract 20% import VAT if it is to remain in the UK.Lot to be sold without reserve.This lot is subject to the following lot symbols: Ω NΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.N MOTORCYCLESIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (SHIPPIO) to undertake the NOVA and C88 (customs) application if applicable on the Buyer's behalf. A fee of £125 + VAT to do so will be added to the Buyer's invoice.CARSIf purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com

1933 Bugatti Type 46S Two-Door CoupéCoachwork by by James YoungRegistration no. AGO 37Chassis no. 46587•The first Bugatti Type 46S imported into the UK•One of only 18 supercharged models made•Known ownership history from new•Spare engine included in sale•Exceptional history fileFootnotes:'(The Bugatti Type 46) ...combines the luxury of a large limousine, the perfect flexibility and top gear performance of a thoroughbred low carriage with the perfect roadholding, the speed and acceleration of the best type of sports model.' – The Motor, 1930. By the early 1930s, Ettore Bugatti had established an unrivalled reputation for building cars with outstanding performance on road or track. Indeed, the world's greatest racing drivers enjoyed countless successes aboard the Molsheim factory's products and often chose them for their everyday transport. Although Bugatti is best remembered for its racing models, most of the 6,000-or-so cars produced at the Molsheim factory were touring cars of sporting character. Produced from 1929 to 1932, the Type 46 exemplified Bugatti's policy of building fast and exciting touring cars possessing excellent handling and brakes. The Type 46 was powered by a 5.4-litre, single-overhead-camshaft, straight-eight engine - effectively a short-stroke version of that found in the stately Type 41 Royale - while the axles, brakes, cast-alloy wheels and rear-mounted transmission were other Royale carry-overs. Because of its lengthy run of success, Ettore Bugatti had remained stubbornly committed to his single-cam engine as found in the Type 46, only adopting the more advanced double-overhead-camshaft method of valve actuation, after much prompting by his eldest son Jean, on the Type 50 of 1930. But of all the many and varied car designs that he produced, it is the elegant and handsomely proportioned Type 46 that the legendary artist/engineer is said to have favoured most. Unlike the Royale, only six of which found customers, the Type 46 proved far more saleable, a total of 444 (plus 18 of the supercharged Type 46S) leaving the Molsheim factory by the time production ceased. The Roots-type blower provided the Type 46S with markedly superior acceleration and increased the car's top speed by around 5-10mph depending on the type of coachwork fitted, with some closed cars capable of reaching 100mph. The first Bugatti Type 46S imported into the UK, '46587' had been ordered in December 1932 by the British Bugatti agent, Colonel Sorel, and was delivered as a rolling chassis fitted with engine number '16S' on 20th January 1933. The Bugatti was bodied by coachbuilders James Young of Bromley, registered as 'AGO 37', and first owned by Percy Fawcett. Following Fawcett's death, in 1942 his daughter Enid sold the Type 46S to Colonel G M Giles, founder of the Bugatti Owners' Club in Britain (it was his last Bugatti). Colonel Giles sold the car to Bugatti collector Peter Hampton in February 1946, by which time it had covered some 38,000 miles. First stamped 'Ettore Bugatti Automobiles' on 31st March 1933, and recording the aforementioned changes of ownership, the original old-style buff logbook is in the history file, the latter being one of the biggest and most comprehensive Bonhams has ever seen. A typewritten sheet on file states that that 'AGO 37' passed to Robert Pattenden on 9th January 1953. It then became the property of The Half Way Garage in December 1953 before passing to dealers Metcalfe & Mundy Ltd in August 1956. According to this typewritten sheet, and contrary to the book Bugatti Type 46, La Petit Royale by Klein, Saunier et al, the car became the property of Miriam Louise Burnett on 23rd October 1956, with a change of address noted in August 1957. In actual fact, the car had been purchased by Miriam's husband, Charles Burnett II, lately domiciled in London, whose recollections of how he came to acquire the Bugatti were reproduced as part of an article by Allan McNab published in Bugantics (spring 2020 edition, copy on file). Burnett's Canadian wife, Miriam, was the daughter of W Garfield Weston, boss of the Weston group of companies, whose British business interests included Allied British Foods, Selfridges, Fortnum & Mason, and Heal's.Having just missed the opportunity to buy the Type 46S from Metcalfe & Mundy, Charles had the good fortune to spot the car six months later driving down London's Oxford Street. Flagging it down, he spoke to the owner, Trevor Thornlow, a musical director at the BBC, who was willing to sell it. 'The car lived up to every expectation and upon further reading Bugatti literature, I find that the Type 46 is indeed the choice family car that Bugatti manufactured,' declared its delighted new owner. The car was next registered to one of the family firms - Weston Biscuit Co Ltd of Slough - in 1958 before being registered to Charles Burnett II on 3rd January 1963. '46587' took part in the International Bugatti Touring Rallye in May 1963 (event programme and correspondence on file). A letter on file from the American Bugatti Owners' Club, dated December 1963, confirms that Burnett moved to Ontario, Canada and left the 46S in England. There is correspondence on file relating to servicing work carried out in the UK. The file also contains correspondence between Charles Burnett II and the VSCC during the 1960s, plus various bills and import paperwork for parts sourced from Garage Della Torre, Zurich. Burnett was temporarily living in Bermuda when he received a letter from the famous American Bugatti aficionado Gene Cesari, offering him a brand new Type 46S engine. Knowing it was probably the only specimen like it in the world, Burnett purchased it. Hidden in the Bugatti factory during the war, the engine arrived packed in thick grease and was later restored. This engine is included in the sale. Also contrary to the aforementioned Bugatti Type 46 book, correspondence on file from Burton's Gold Metal Biscuits Ltd, Weston, Slough dated March 1972 shows that the car was shipped on the Helene Roth of Gulf Containers Lines from Felixstowe to Miami, Florida to join Mr Burnett in Fort Lauderdale. A copy collection note is on file together with a State of Florida title in the name of Charles Burnett dated 27th April 1972. Also dating from the Bugatti's time in the USA is an invoice dated October 1989 from Abacus of Tidewater, Virginia for service work.The Bugatti next passed to Charles Burnett II's son, Charles Burnett III. British-born but mainly resident in Houston, Texas, Charles Burnett III was an avid collector of all kinds of transport: aircraft, tanks, speedboats and, of course, fast cars. In 2009 he set a new world speed record of 139.8mph for a steam-powered car (the British built and designed 'Inspiration'), breaking the existing record set by a Stanley Steamer in 1906! Tragically, he died in a helicopter crash in January 2018 aged 61. It is not known exactly when Charles Burnett III became owner, though there is a letter on file to DVLA, Swansea dated December 30th 1991 from A B Price Ltd asking the DVLA to reassign the registration 'AGO 37', so presumably the car was back in the UK by this time. There is further paperwork on file dating from the early 1990s, including correspondence with the Bugatti Owners' Club. Another document offers a breakdown of restoration and improvements made over the course of the next 20-or-so years: some £72,000 was spent with marque specialist Ivan Dutton over the period 2005-2008, while Don Law Racing carried out various works in 2013 and 2014 at a cost of £68,000 prior to the Bugatti being shipped to New Zealand (correspondence and reports available). While in Australia in 2017, '46578' had one of the 'suicide' doors fly open while travelling, causing some damage to the body. The Bugatti was r... For further information on this lot please visit Bonhams.com

Erich Brauer('Arik Brauer') (1929 Wien - 2021 ebenda)'Equilibriste', Gouache auf Papier, 17,5 cm x 13,5 cm Passepartoutinnenmaß, signiert, verso signiert, betiteltProvenienz: Galerie Koch (verso Etikett), Privatsammlung Hannover"Die österreichischen Kultureliten wollten nach dem Krieg weg vom Image des Zurückgewandtseins, wollten modern sein. Wir aber bezogen uns auf die Renaissance, auf Hieronymus Bosch, auf den Jugendstil, waren also ein Hemmschuh." (Arik Brauer, zit. n.: Schurian, Andrea: "Woher ich komme und wohin ich gehe", Jüdisches Magazin für Politik und Kultur)Erich Brauer gehört zur Gruppe von Künstlern, die nach dem Zweiten Weltkrieg eine besondere Variante des österreichischen Surrealismus ausbildeten, für die in den 1950er Jahren der Stilbegriff "Wiener Schule des Phantastischen Realismus" geprägt wurde. Durch gemeinsame Ausstellungen der Gruppe, zu der auch Ernst Fuchs und Rudolf Hausner gehörten, erlangte Brauer schnell große Bekanntheit. Seine kleinformatigen Bilder zeigen häufig Menschen in schwierigen, komplexen oder ausweglosen Situationen, die als phantasiegeladene Metaphern stets mehrdeutig und rätselhaft bleiben. So balanciert der Equilibrist (Gleichgewichtskünstler) im Harlekinkostüm auf zwei Kugeln, während er gleichzeitig versucht, Artistenringe um seine Beine zu schwingen, das Ganze mit pflanzlichen Gebilden in den winzigen Händen zum Ausgleich bringend. Zwei Affen versuchen, ihn dabei aus der Fassung zu bringen. Das Bild stellt eine ironische Phantasmagorie über das menschliche Bemühen auf der Suche nach dem rechten Platz im Leben dar. Erich Brauer (1929 Vienna - 2021 ibid)'Equilibriste', gouache on paper, mat inner dimensions 17.5 cm x 13.5 cm, signed, additionally signed on the reverse, titledProvenance: Galerie Koch (with a label on the reverse), private collection, Hanover''After the war, the Austrian cultural elites wanted to escape the image of backwardness, wanted to be modern. But we referred to the Renaissance, to Hieronymus Bosch, to Art Nouveau, so we were a stumbling block.'' (Arik Brauer, quoted in: Schurian, Andrea: ''Woher ich komme und wohin ich gehe,'' Jewish Magazine for Politics and Culture)Erich Brauer belongs to the group of artists who formed a special variant of Austrian Surrealism after World War II, for which the stylistic term ''Viennese School of Fantastic Realism'' was coined in the 1950s. Through joint exhibitions of the group, which also included Ernst Fuchs and Rudolf Hausner, Brauer quickly achieved great fame. His small-format paintings often show people in difficult, complex, or hopeless situations, which, as fantasy-laden metaphors, always remain ambiguous and enigmatic. For example, the equilibrist (balance artist) in a harlequin costume balances on two balls while at the same time trying to swing hoops around his legs, balancing the whole thing with plant-like formations in his tiny hands. Two monkeys try to upset him in the process. The painting represents an ironic phantasmagorical allegory of the human endeavour to search for the right place in life.

Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Elephant de l'espace', 1980, Bronze, dunkel patiniert, auf Marmorsockel, mit Acrylobelisk, lose aufgestellt, Maße (mit Obelisk) 90 cm x 22 cm x 43,5 cm, signiert, Gießerstempel, 1981 datiert, 116/350 nummeriert, Herausgeberstempel, partiell mit Kleberesten, Spitze des Obelisken abgebrochen anbei, leicht bestoßen, Echtheitszertifikat anbei, anbei: Poster zur Ausstellung "Salvador Dalí - Lithografien. Radierungen. Skulpturen.", Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989Provenienz: Kunsthandel Wissing, Bottrop, Privatsammlung"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten.Inspiriert durch Giovanni Lorenzo Berninis Elefanten mit Obelisken auf dem Rücken in Rom, finden sich in Dalís gemaltem Oeuvre mehrfach Elefanten mit Obelisken. Gestaltet nach seiner surrealistischen paranoisch-kritischen Methode zeichnen sie sich durch extrem verlängerte, grazile Beine aus, die die übliche Vorstellung des schweren behäbigen Tiers ad absurdum führen. Die Bronzearbeit stellt die erste plastische Ausformung dieses Gedankens dar, der Dali über einen langen Zeitraum beschäftigte. Ein augenloser Zirkus-Elefant mit skelettartigen Beinen balanciert mit einem schimmernden Obelisken auf dem Rücken. Von der Art, in der das schwere Tier sich auf seinen dürren Beinen hervortastet, bis zu der Brechung des Lichts in der kristallenen Struktur der Pyramide, wirkt alles an der Figur prekär und verletzlich, gefangen in einem Zustand zwischen schweben und fallen. Dalís Werke spielen immer wieder mit abstrus erscheinenden Gegensätzen und Kontrasten, um das Gefühl einer traum-ähnlichen Irrealität zu erzeugen. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)'Elephant de l'espace', 1980, bronze, dark brown patina, acrylic obelisk on brass stand, marble plinth, H with obelisk 90 cm x 22 cm x 43.5 cm, signed, foundry stamp of Venturi Arte, editior's stamp of Camblest Ltd. (dated 1981), numbered 116/350, with certificate of authenticity, tip of the obelisk broken and reattached, the left tusk with some remnants of glue, includes: Exhibition poster 'Salvador Dalí - Lithografien. Radierungen. Skulpturen.' in the Galerie am Rathaus in Bottrop, 18.11. - 16.12.1989, with a photograph of the elephant''My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.'' (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.Inspired by Giovanni Lorenzo Bernini's elephants with obelisks on their backs in Rome, Dalí included several such elephants in his painted works. Designed according to his surrealist paranoiac-critical method, they are characterized by extremely elongated, graceful legs, which reduce the idea of the heavy, ponderous animal to absurdity. The bronze work represents the first sculptural expression of this idea, which preoccupied Dali over a long period of time. The eyeless circus elephant with skeletal legs balances with a shimmering obelisk on its back. From the way in which the heavy animal struggles to rise on its scrawny legs to the refraction of light in the pyramid's crystalline structure, everything about the figure seems precarious and vulnerable, caught in a state between floating and falling. Dalí's works repeatedly play with seemingly abstruse concepts and contrasts to create a sense of dream-like unreality.

Christian Rohlfs (1849 Niendorf - 1938 Hagen)Rote Blüten, Farbkreide auf Papier, 23,5 cm x 33 cm Blattmaß, monogrammiert, 33 datiert, partiell Stecknadellöcher, Blatt auf Karton montiert, partiell fleckigProvenienz: Sammlung Haas, EssenChristian Rohlfs wurde am 22. Dezember 1849 in Groß Niendorf geboren. Von 1870 bis 1874 besuchte Rohlfs die Großherzogliche Kunstschule in Weimar. Nach einer krankheitsbedingten Pause wechselte er im Jahr 1876 an die Akademie in Weimar. Dort war er ab 1884 als freischaffender Künstler tätig und wandte sich zunehmend dem Impressionismus zu. 1901 lernte der Künstler Karl Ernst Osthaus kennen, welcher ihn als Lehrer an die Folkwangschule in Hagen holte. Dort konnte er sich sein eigenes Atelier in der Umgebung des Folkwanger Museums einrichten. Bevor Rohlfs sich ab ca. 1880 dem Impressionismus hinwendete, war seine Malweise von dem Naturalismus der Weimarer Zeit geprägt. Die Farbigkeit seiner Bilder nahm in den 1890er Jahren weiter zu, ohne völlig auf die Naturwiedergabe zu verzichten. Nachdem er den Künstler Emil Nolde 1905 in Soest kennenlernte, entwickelte er seinen expressiven Spätstil. 1907 schloss Christian Rohlfs sich dem von Karl Ernst Osthaus geleiteten "Sonderbund westdeutscher Kunstfreunde und Künstler" an. In den darauffolgenden Jahren wurde er 1911 Mitglied der Neuen Sezession, 1914 der Freien Sezession, 1924 der Berliner Kunstakademie und 1925 der Düsseldorfer Kunstakademie. 1929 wurde in Hagen das Christian-Rohlfs-Museum und 2011 das Christian-Rohlfs-Archiv am Osthaus Museum Hagen gegründet. Wie schon in seiner Weimarer Zeit griff Rohlfs in den 1920er Jahren die Blumenmalerei auch aus finanziellen Gründen wieder auf. Schon nach einigen Jahren veränderte er seine Vorgehensweise durch eine exakte Gliederung der Form und ein stellenweises Auswaschen bzw. Verwischen der Farbe. Der Bildraum wird aufgelöst und das Motiv existiert nur noch auf der Fläche, eine Tiefenräumlichkeit wie in der traditionellen Stilllebenmalerei ist obsolet geworden. Seine späten Blumenstücke, zu denen auch die "Roten Blumen" zählen, welche in flüchtigen, aufs Papier geworfenen roten und schwarzen Kreidestrichen, teilweise lasierend und verwischt gezeichnet sind, sind nur noch farbige Erscheinungen einer transparenten Immaterialität und die monochrome Farbsetzung verschließt sich bewusst einer botanischen Bestimmung, auf die der Künstler zuvor so großen Wert gelegt hatte. Christian Rohlfs (1849 Niendorf - 1938 Hagen)Red flowers, chalk pastel in colours on paper, sheet size 23.5 cm x 33 cm, monogrammed, dated 33, with some pin holes, mounted on card, slightly soiledProvenance: Haas collection, EssenChristian Rohlfs was born in Groß Niendorf on December 22nd 1849. From 1870 to 1874 Rohlfs attended the Grand Ducal School of Art in Weimar. After a break due to illness, he transferred to the Academy in Weimar in 1876. There he worked as a freelance artist from 1884 onwards, turning increasingly towards Impressionism. In 1901 the artist met Karl Ernst Osthaus, who brought him to the Folkwang School in Hagen as a teacher. There he was able to set up his own studio in the vicinity of the Folkwang Museum. Before Rohlfs turned to Impressionism in around 1880, his painting style was influenced by the naturalism of the Weimar period. His works became increasingly colourful throughout the course of the 1890s, but never entirely abandoned the reproduction of nature. After meeting the artist Emil Nolde in Soest in 1905, he developed his expressive late style. In 1907 Christian Rohlfs joined the ''Sonderbund westdeutscher Kunstfreunde und Künstler'', led by Karl Ernst Osthaus. In the following years he became a member of the Neue Sezession in 1911, the Freie Sezession in 1914, the Berlin Art Academy in 1924 and the Düsseldorf Art Academy in 1925. In 1929 the Christian-Rohlfs-Museum was founded in Hagen and in 2011 the Christian-Rohlfs-Archive at the Osthaus Museum Hagen. As he had done during his Weimar period, Rohlfs picked up flower painting again in the 1920s for financial reasons. After several years he changed his approach to include a more exact division of forms and a partial smudging of colour. The pictorial space was thus dissolved and the motif existed only on the plane, with the illusion of depth strived for in traditional still life painting becoming obsolete. His later flower paintings, of which ''Red Flowers'' is a fine example, created using fleeting, hastily placed strokes of black and white chalk, partially layered and smudged, are merely colourful manifestations of a transparent immateriality, the monochromatic colour palette of which deliberately occluded the botanical accuracy upon which the artist formerly placed so much value.

Friedensreich Hundertwasser (1928 Wien - 2000 Brisbane) (F)'Look at it on a rainy day', 10-tlg., Regentag-Mappe, in Original-Holzkassette, 10 Farbsiebdrucke mit Metallprägungen auf unterschiedlichen Papieren, 49 cm x 66,5 cm Blattmaß, signiert, 1971 datiert, 1848/3000 nummeriert, Mappe signiert, Blätter mit Prägesignaturen, Blatt 8 handsigniert, 185/300 nummeriert, Blätter partiell stockfleckig, leicht wellig, minimal knickfaltig, Blatt 1 partiell fleckig, Blatt 3 mit kleinem Riss, Blatt 5 mit kleinen Farbabplatzern am Rand, Kaufbeleg anbeiProvenienz: Galerie Brusberg, Privatsammlung HannoverLiteratur: Wvz. Fürst HWG 44-53"Die Arbeit des Künstlers ist eben sehr schwierig, weil sie mit Gewalt, mit Fleiß und mit Intelligenz nicht getan werden kann. Ich meine, mit Kraft und Fleiß und Intelligenz kann man sonst im Leben alles tun, doch mit diesen Dingen bleibt einem das Resultat in der Kunst total versperrt." (Friedensreich Hundertwasser, zit. n.: Fürst, Andrea Christa: Hundertwasser Werkverzeichnis Bd. II, S. 22.)Friedensreich Hundertwasser war ein österreichischer Künstler, der vorrangig als Maler, aber auch in den Bereichen Architektur und Umweltschutz tätig war. Von Kindesalter an waren seine Lieblingsmotive Landschaften und Häuser in der Umgebung Wiens. Zeitlebens trat er als Gegner der "geraden Linie" und jeglicher Standardisierung auf. In den 1950er-Jahren lebte Hundertwasser in Paris. Er setzte sich mit der herrschenden Avantgarde auseinander, als aktiver Teilnehmer am aktuellen Diskurs zwischen geometrischer und expressiver Abstraktion, Informel und aufkeimendem Nouveau Réalisme. Zu den wichtigsten persönlichen Kontakten zählten unter vielen anderen Michel Tapié und Yves Klein sowie die Kritiker Pierre Restany und Julien Alvard. Zeit seines Lebens entstanden eine Vielzahl von Zeichnungen, Aquarellen, Lithographien und japanischen Holzschnitten. Friedensreich Hundertwasser (1928 Vienna - 2000 Brisbane) (F)'Look at it on a rainy day', 10 part portfolio, in the original wooden case, 10 silkscreens in colour with metal embossing on various papers, sheet size 49 cm x 66.5 cm, signed, dated 1971, numbered 1848/3000, portfolio signed, sheets with embossed signatures, sheet 8 with hand-written signature, numbered 185/300, some sheets with foxing, slightly cockled, some creases, sheet 1 slightly stained, sheet 3 with a small tear, sheet 5 with minor losses of pigment on the edges, with purchase receiptProvenance: Galerie Brusberg, private collection, HanoverLiterature: Cat. rais. Fürst HWG 44-53''The work of the artist is just very difficult because it cannot be done with force, with diligence and with intelligence. I mean, with force and diligence and intelligence you can do everything else in life, but with these things the result in art is totally blocked.'' (Friedensreich Hundertwasser, cit. n.: Fürst, Andrea Christa: Hundertwasser Werkverzeichnis vol. II, p. 22.)Friedensreich Hundertwasser was an Austrian artist who worked primarily as a painter, but also in the fields of architecture and environmental protection. From childhood on, his favourite motifs were landscapes and houses in the surroundings of Vienna. Throughout his life he was an opponent of the straight line and of any form of standardization. In the 1950s Hundertwasser lived in Paris. He engaged with the prevailing avant garde as an active participant in the discourse between geometric and expressive abstraction, Informel and burgeoning Nouveau Réalisme. Among his most important personal contacts were Michel Tapié and Yves Klein, as well as the critics Pierre Restany and Julien Alvard. During his life he produced a large number of drawings, watercolours, lithographs and Japanese style woodcuts.

Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, Bronze, schwarz patiniert, Maße 33 cm x 17 cm, signiert, Gießerstempel, 52/175 nummeriert, partiell restauriert, Gießerstempel verschlagen, Kaufbeleg anbeiProvenienz: Die Galerie, Offenbach a.M., Privatsammlung Hannover,Literatur:Pech, Jürgen: Max Ernst - Plastische Werke, Köln 2005, S. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, Ausst.-Kat. Kunstsammlung Nordrhein-Westfalen 1998, S. 183 (mit Abb.).Hauptsächlich für seine innovativen Techniken im Bereich der Malerei bekannt, war der deutsche Künstler Max Ernst genauso experimentierfreudig in der Bildhauerei. Spielerisch setzte er alltägliche Gegenstände wie Löffel, Muscheln oder Töpfe zusammen, um sie in Form seiner zugleich humorvoll wie mysteriös erscheinenden Bronzefiguren neu zu interpretieren. Als Pionier der Dada- und Surrealismus-Bewegungen, schätzte Ernst das Medium der Skulptur für die Freiheit und beschrieb diese als "mehr pures Spiel als die Malerei". Geboren in Brühl in der Nähe von Köln, entdeckte Ernst früh ein Interesse an der Kunst und brachte sich Malerei und Zeichnen als Autodidakt neben seinem Studium der Philosophie und Kunstgeschichte bei. Während seiner Studienzeit lernte er August Macke kennen und durch die Unterstützung des Künstlers und seinem Freundeskreis wurde Ernst ermutigt, sich als Maler zu betätigen. Er hatte seine erste Ausstellung 1912 in der Galerie Friedmann in Köln, doch seine Karriere wurde schon 1914 durch seine Einberufung im Ersten Weltkrieg unterbrochen.Die Rückkehr aus dem Krieg empfand Ernst als eine Art Wiedergeburt und gründete kurz darauf 1919 die Kölner Dada-Gruppe zusammen mit befreundeten Künstlern. Die Bewegung verstand sich als eine bewusste Ablehnung von bürgerlichen Normen und Idealen aber auch als eine Rebellion seitens der Künstler gegen die Kunst selbst, in einer Gesellschaft, von der sie sich aufgrund ihrer Kriegserfahrungen immer weiter entfernt fühlten. Dada blieb jedoch als Bewegung relativ kurzlebig und schon 1924 unterzeichnete Max Ernst in Paris das "Manifeste du Surréalisme". Ähnlich der Dadaisten verwendeten die Surrealisten den Zufall als wichtiges Prinzip in ihren Arbeiten mit dem Ziel - ausgehend von den psychologischen Theorien Sigmund Freuds und Carl Jungs - den Prozessen ihres Unterbewusstseins bildhafte Form zu verleihen. Obwohl Max Ernst schon 1938 aus der Bewegung wegen persönlichen Differenzen austrat, blieb dieser psychologische Ansatz für seine Werke von großer Bedeutung.Im Spätwerk "Chéri Bibi" lächelt eine kükenartige Fratze dem Betrachter entgegen. Obwohl sie aus blockhaften geometrischen Formen zusammengestellt ist, wirkt die Figur lebendig und verschmitzt. Der spitze Schnabel und die glänzenden Augen erinnern an die Vogelmotive, welche sich wie ein roter Faden durch Ernsts gesamtes Oeuvre ziehen. Die vielleicht berühmteste Vogelfigur des Malers war der Charakter "Loplop", den der Künstler fast selbstporträtartig in vielen seiner Gemälde als symbolische Darstellung seines eigenen Egos integrierte. Der Titel dieses Werkes bezieht sich auf Gaston Lerouxs gleichnamige Romanfigur Chéri Bibi: Ein Metzgerjunge, der mehrmals aus dem Gefängnis ausbricht, nachdem er unschuldig verhaftet wurde. Max Ernst (1891 Brühl - 1976 Paris) (F)'Chéri Bibi', 1973, bronze, dimensions 33 cm x 17 cm, signed, foundry stamp, numbered 52/175, partially restored, foundry stamp indistinctly struck, with purchase receiptProvenance: Die Galerie, Offenbach a.M.; private collection, HanoverLiterature:Pech, Jürgen: Max Ernst - Plastische Werke, Cologne 2005, p. 20.Spies, Werner: Max Ernst. Skulpturen, Häuser, Landschaften, exhib. cat. Kunstsammlung Nordrhein-Westfalen 1998, p. 183 (illus.).Although primarily known for his innovative techniques in the field of painting, German artist Max Ernst was equally experimental in sculpture. He playfully assembled everyday objects such as spoons, shells, and pots to reinterpret them in the form of bronze figures, which appear both humorous and mysterious. A pioneer of the Dada and Surrealist movements, Ernst valued the medium of sculpture for its freedom, describing it as ''more pure play than painting.'' Born in Brühl, near Cologne, Ernst discovered an interest in art at an early age and taught himself painting and drawing alongside his studies in philosophy and art history. During his time as a student he met August Macke, and through the support of the artist and his circle of friends, Ernst was encouraged to pursue painting. He had his first exhibition in 1912 at the Friedmann Gallery in Cologne, but his career was interrupted in 1914 when he was conscripted for the First World War.Ernst perceived his return from the war as a kind of rebirth and shortly thereafter founded the Cologne Dada group together with artist friends in 1919. The movement propagated a conscious rejection of bourgeois norms and ideals but also as a rebellion on the part of the artists against art itself, in a society from which they felt increasingly distant due to their wartime experiences. Dada remained relatively short-lived as a movement, however, and as early as 1924 Max Ernst signed the ''Manifeste du Surréalisme'' in Paris. Similar to the Dadaists, the Surrealists used chance as an important principle in their work with the goal - based on the psychological theories of Sigmund Freud and Carl Jung - of giving pictorial form to the processes of the subconscious. Although Max Ernst left the movement as early as 1938 due to personal differences, this psychological approach remained of great importance for his works.In the late work ''Chéri Bibi'', a chick-like creature smiles crookedly out towards the viewer. Although composed of stark geometric shapes, the figure appears lively and mischievous. The pointed beak and shining eyes are reminiscent of the bird motifs that run like a thread through Ernst's entire oeuvre. The painter's perhaps most famous bird figure was the character ''Loplop'', which the artist integrated almost like a self-portrait in many of his works as a symbolic representation of his own ego. The title of this piece refers to Gaston Leroux's eponymous novel character Chéri Bibi: a butcher's boy who escapes from prison numerous times after being arrested for a crime he didn't commit.

Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', Entwurf 1978, Bronze, braun patiniert, Höhe 30 cm, signiert, 117/150 nummeriert, Plinthe absentLiteratur: Wvz. Egret 411/412Der deutsche Bildhauer und Architekt Arno Breker wurde 19. Juli 1900 in Wuppertal geboren. 1920 begann Breker sein Studium an der Düsseldorfer Kunstakademie. Sein großes Idol war der französische Bildhauer Auguste Rodin. Das Jahr 1936 bezeichnete der Künstler als "Wendepunkt" in seinem Leben. Die deutliche Anlehnung seiner Plastiken an die Antike erregte den Gefallen der Nationalsozialisten. Auf einmal erhielt Breker Aufträge und Auszeichnungen, trat 1937 in die NSDAP ein und wurde schnell als "Michelangelo des Dritten Reichs" gefeiert. So erhielt er 1938 den Auftrag die Büste Adolfs Hitlers zu fertigen. Nicht nur von den Nationalsozialisten, auch von dem französischen Vichy-Regime wurde der Künstler hoch angesehen. Nach Ende des Zweiten Weltkrieges floh Breker nach Bayern, wo er im Rahmen der Entnazifizierung freigesprochen wurde. Er erhielt zahlreiche private Aufträge, porträtierte viele namhafte Industrielle wie Hugo Henkel, Herbert Quandt und Rudolf-August Oetker, sowie die Politiker Konrad Adenauer und Ludwig Erhard. Ebenfalls wurde er mit Architekturprojekten wie dem Bau der Büro- und Wohngebäude für den Gerling-Konzern in Hagen 1955 beauftragt. Trotz zahlreicher Aufträge erhob sich in der Nachkriegszeit auch Kritik gegen den Künstler und seine idealisierende Ästhetik. Dennoch war Breker in der internationalen Künstlerwelt der Nachkriegszeit bekannt und pflegte besondere Freundschaft mit Salvador Dalí und Ernst Fuchs. Dalí sagte einst über die drei Künstler, die zusammen als "Goldenes Dreieck" bezeichnet wurden: "Breker-Dalí-Fuchs. Man kann uns wenden wie man will, wir sind immer oben." In seinen Arbeiten beschäftigte sich Breker zeitlebens mit dem menschlichen Körper in seiner vollen Schönheit. Ernst Fuchs beschrieb ihn sogar als "der wahre Prophet des Schönen". Der sinnlich-sinnende Mädchenakt "Die Erwartung" aus den 1970er Jahren ist ein besonders harmonisches Beispiel seines den Realismus mit dem Idealismus verbindenden Stils. Arno Breker (1900 Elberfeld - 1991 Düsseldorf) (F)'Die Erwartung', modelled in 1978, bronze, dark brown patina, height 30 cm, signed, numbered 117/150, plinth lackingGerman sculptor and architect Arno Breker was born 19th July 1900 in Wuppertal. In 1920 Breker began his studies at the Düsseldorf Art Academy. His great idol was the French sculptor Auguste Rodin. The artist described the year 1936 as a ''turning point'' in his life. The clear reference of his sculptures to antiquity attracted the favour of the National Socialists. Suddenly, Breker was receiving commissions and awards, joined the NSDAP in 1937, and was quickly hailed as the ''Michelangelo of the Third Reich.'' In 1938, for example, he was commissioned to make the bust of Adolf Hitler. The artist was highly respected not only by the National Socialists, but also by the French Vichy regime. After the end of World War II, Breker fled to Bavaria, where he was acquitted in the denazification process. He received numerous private commissions, portrayed many well-known industrialists such as Hugo Henkel, Herbert Quandt and Rudolf-August Oetker, as well as the politicians Konrad Adenauer and Ludwig Erhard. He was also commissioned with architectural projects such as the construction of the office and residential buildings for the Gerling Group in Hagen in 1955. Despite numerous commissions, criticism also arose against the artist and his idealised aesthetic in the post-war period. Nevertheless, Breker was well-known in the international art world of the post-war period and cultivated friendships with Salvador Dalí and Ernst Fuchs. Dalí once said of the three artists, who together were known as the ''Golden Triangle'': ''Breker-Dalí-Fuchs. You can turn us any way you want, we're always on top.'' Throughout his life, Breker dedicated himself in his work to the human body in all its beauty. Ernst Fuchs even described him as ''the true prophet of the beautiful.'' This sensuous, pensive female nude ''The Expectation'' from the 1970s is a particularly harmonious example of the way in which realism and idealism were combined in his works.

Gerhard Richter (1932 Dresden) (F)'Blattecke', Farboffset in Grau und Elfenbein auf granuliertem Halbkarton, 23,3 cm x 18 cm Blattmaß, signiert, 2.67 datiert, 710 nummeriert, leicht fleckig, an den Rändern minimal bestoßen handgeschriebener Brief von Gerhard Richter anbei, signiert, 10.12.74 datiertLiteratur: Editions-Wvz. 11Der deutscher Maler Gerhard Richter wurde 1932 in Dresden geboren. Seine erste Ausbildung zum Maler erhielt er in der Hochschule für Bildende Künste in Dresden in der ehemaligen DDR, bevor ihm 1961 zusammen mit seiner Frau die Flucht nach Westdeutschland gelang. Er ließ sich in Düsseldorf nieder und studierte an der dortigen Akademie unter anderem zusammen mit Sigmar Polke, Konrad Lueg und Gotthard Graubner. Sein künstlerisches Schaffen ist von bemerkenswerter Vielseitigkeit geprägt. Er schuf unter anderem Fotografien, Grafiken und Collagen sowie das berühmte Glasfenster im Kölner Dom. Sein Malstil reicht von konkret-realistisch bis völlig Abstrakt. Die "Blattecke" ist eines der bekanntesten Werke des für seine innovativen Arbeiten berühmten Künstlers, der als einer der erfolgreichsten und am höchsten gehandelten Künstler der Gegenwart gilt.Gerhard Richter (1932 Dresden) (F)'Blattecke', offset print in colours on textured card, sheet size 23.3 cm x 18 cm, signed, dated 2.67, numbered 710, slightly stained, the edges slightly dented, with a hand-written letter by Gerhard Richter, signed, dated 10.12.74Literature: Editions-Wvz. 11The German painter Gerhard Richter was born in Dresden in 1932. He received his initial training as a painter at the Dresden Academy of Fine Arts in the former GDR, before he and his wife managed to escape to West Germany in 1961. He settled in Düsseldorf and studied at the academy there with Sigmar Polke, Konrad Lueg and Gotthard Graubner, among others. His artistic work is characterized by remarkable versatility. He created photographs, graphics and collages, as well as the famous stained glass window in Cologne Cathedral. His painting style ranges from concrete-realistic to completely abstract. The ''Blattecke'' is one of the best-known works of the artist, who is famous for his innovative works and is considered one of the most successful and highly traded contemporary artists in the world.

Bruno Bruni (1935 Gradera/Italien)'Zärtlichkeit', Bronze, Maße 76 cm x 40 cm x 1,7 cm, signiert, Gießerstempel, 8/250 nummeriert, partiell weiße Farbrückstände, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung HannoverDer italienische Bildhauer, Maler und Lithograf Bruno Bruni wurde 1935 in der kleinen Gemeinde Gradara geboren, kam jedoch 1960 nach Hamburg und ist einer der erfolgreichsten italienischen Künstler in Deutschland. Erste künstlerische Ausbildung erhielt Bruni im "Istituto d'Arte di Pesaro", wo er die Traditionen der Bildhauerei und Malerei Italiens kennenlernte. Später lernte er unter dem Maler Georg Gresko, der ihm dabei half, die Einflüsse des abstrakten Expressionismus und des Surrealismus in Einklang zu bringen. Nach dem frühen Tod Greskos führte Bruni sein Studium unter Paul Wunderlich fort. Bei diesem erlernte er die Technik der polychromen Lithografie, die Bruni wie kaum ein anderer beherrscht. Bruno Bruni ist hauptsächlich für seine erotischen Frauenakte bekannt. Die schlanken und sinnlichen Figuren werden oft zusammen mit geheimnisvollen männlichen Figuren oder rasenden Stieren präsentiert und kontrastiert. Viele seiner bildhauerischen und druckgrafischen Arbeiten gingen in Serienproduktion, was Bruni zu einem der erfolgreichsten Künstler Deutschlands machte. Entgegen dem besonders in den 1970er und 1980er Jahren vorherrschenden Trend zu immer mehr Abstrahierung in der Kunst, entschied sich Bruni für einen figürlichen Stil. Er sagte einst von sich: "Ich kann keine Abstrakten Werke malen. Wenn ich die Trends verfolgt hätte, wäre ich schon längst untergegangen." Bruno Bruni (1935 Gradera/Italy)'Zärtlichkeit', bronze relief, dimensions 76 cm x 40 cm x 1.7 cm, signed, foundry stamp, numbered 8/250, with some traces of white pigment, with purchase receiptProvenance: Edition & Galerie Volker Huber; private collection, HanoverThe Italian sculptor, painter and lithographer Bruno Bruni was born in 1935 in the small municipality of Gradara, but came to Hamburg in 1960 and became one of the most successful Italian artists in Germany. Bruni received his first artistic training at the ''Istituto d'Arte di Pesaro'', where he became acquainted with the traditions of Italian sculpture and painting. Later he studied under the painter Georg Gresko, who helped him reconcile the influences of abstract expressionism and surrealism. After Gresko's early death, Bruni continued his studies under Paul Wunderlich. Under the latter he learned the technique of polychrome lithography, which Bruni mastered like no other. Bruno Bruni is mainly known for his erotic female nudes. The slender and sensual figures are often presented and contrasted together with mysterious male figures or raging bulls. Many of his sculptural and printed works went into serial production, making Bruni one of Germany's most financially successful artists. Contrary to the trend towards more and more abstraction in art, which was particularly prevalent in the 1970s and 1980s, Bruni opted for a figurative style. He once said of himself, ''I can't paint abstract works. If I had followed the trends, I would have gone under long ago.''

Friedensreich Hundertwasser (1928 Wien - 2000 Brisbane) (F)'Good Morning City - Bleeding Town', Farbserigrafie mit Metallprägungen auf Fabriano-Bütten, 83 cm x 54,5 cm Passepartoutinnenmaß, signiert, 2. März 1971 datiert, 5089/10000 nummeriert, 1/50 mit blauer Metallprägung nummeriert, leicht gewellt, Kaufbeleg anbeiProvenienz: Edition & Galerie Volker Huber, Privatsammlung Hannover"Die Arbeit des Künstlers ist eben sehr schwierig, weil sie mit Gewalt, mit Fleiß und mit Intelligenz nicht getan werden kann. Ich meine, mit Kraft und Fleiß und Intelligenz kann man sonst im Leben alles tun, doch mit diesen Dingen bleibt einem das Resultat in der Kunst total versperrt." (Friedensreich Hundertwasser, zit. n.: Fürst, Andrea Christa: Hundertwasser Werkverzeichnis Bd. II, S. 22.)Friedensreich Hundertwasser war ein österreichischer Künstler, der vorrangig als Maler, aber auch in den Bereichen Architektur und Umweltschutz tätig war. Von Kindesalter an waren seine Lieblingsmotive Landschaften und Häuser in der Umgebung Wiens. Zeitlebens trat er als Gegner der "geraden Linie" und jeglicher Standardisierung auf. In den 1950er-Jahren lebte Hundertwasser in Paris. Er setzte sich mit der herrschenden Avantgarde auseinander, als aktiver Teilnehmer am aktuellen Diskurs zwischen geometrischer und expressiver Abstraktion, Informel und aufkeimendem Nouveau Réalisme. Zu den wichtigsten persönlichen Kontakten zählten unter vielen anderen Michel Tapié und Yves Klein sowie die Kritiker Pierre Restany und Julien Alvard. Zeit seines Lebens entstanden eine Vielzahl von Zeichnungen, Aquarellen, Lithographien und japanischen Holzschnitten. Friedensreich Hundertwasser (1928 Vienna - 2000 Brisbane) (F)'Good Morning City - Bleeding Town', silkscreen with metal embossing on Fabriano laid paper, dated 1971, mat inner dimensions 83 cm x 54.5 cm, signed, dated 2nd March 1971, numbered 5089/10000, numbered 1/50 with blue metal embossing, slightly cockled, with purchase recieptProvenance: Private collection, Hanover''The work of the artist is just very difficult because it cannot be done with force, with diligence and with intelligence. I mean, with force and diligence and intelligence you can do everything else in life, but with these things the result in art is totally blocked.'' (Friedensreich Hundertwasser, cit. n.: Fürst, Andrea Christa: Hundertwasser Werkverzeichnis vol. II, p. 22.)Friedensreich Hundertwasser was an Austrian artist who worked primarily as a painter, but also in the fields of architecture and environmental protection. From childhood on, his favourite motifs were landscapes and houses in the surroundings of Vienna. Throughout his life he was an opponent of the straight line and of any form of standardization. In the 1950s Hundertwasser lived in Paris. He engaged with the prevailing avant garde as an active participant in the discourse between geometric and expressive abstraction, Informel and burgeoning Nouveau Réalisme. Among his most important personal contacts were Michel Tapié and Yves Klein, as well as the critics Pierre Restany and Julien Alvard. During his life he produced a large number of drawings, watercolours, lithographs and Japanese style woodcuts.

Otto Dix (1891 Gera - 1969 Singen) (F)'Frauenkopf' (Kopf einer Dirne), Aquarell und Tusche auf Papier, 1925, 39,5 cm x 30 cm Blattmaß, signiert, verso 'Frauenkopf unverkäuflich' bezeichnet, Bleistiftskizze, Halbfigur eines Mannes und Säule, Maße ca. 14,5 cm x 17 cm, leicht gewellt, Papier an den Seiten minimal berieben, verso MontierungsrückständeProvenienz: Hauswedell & Nolte 1975; Ketterer 1978; Hauswedell & Nolte 1979; Privatsammlung Hannover (auf Anfrage)Literatur:Barton, Brigid S.: Otto Dix and Die neue Sachlichkeit 1918-1925, Michigan 1981, S. 151, VIII B9.Wvz. Pfäffle, Suse: Otto Dix. Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, S. 204, Nr. A 1925/7.Ausstellungskataloge: Kunstsalon Wolfsberg: Sonder-Ausstellung Otto Dix, Gemälde, Aquarelle, Zeichnungen, Graphik, Zürich 1929, Nr. 32.Galerie Nierendorf: Otto Dix, Bilder, Aquarelle, Zeichnungen, Das Graphische Gesamtwerk 1913-1960, Berlin 1961, Nr. 58, Abb. S. 13.Galerie Klihm: Otto Dix, Aquarelle, Zeichnungen, Radierungen 1920-1927, München 1970, Nr. 23.Goethe-Institut: Otto Dix, Aquarelles, Dessins, Paris 1970, Nr. 39.Museum Folkwang: Otto Dix, Aquarelle, Zeichnungen, Radierfolge „Der Krieg“, Essen 1971/72, Nr. 122.Gallerie Giulia, Goethe Institut, Biblioteca Germanica: Otto Dix, acquerelli, disegni, incisioni, Rom 1972, Nr. 122Galerie Herzog im Pferdestall: Otto Dix, Wien 1974, Nr. 92.„Die Idee des Bildes ist, die Prostitution in ihrer ganzen grauenhaften und entmenschenden Wirkung wahrheitsgemäß darzustellen, als gesellschaftliches Übel zu geißeln und ihre für Körper und Geist verheerenden Folgen überzeugend zu schildern.“ (Otto Dix 1923, zit. n.: Schmidt, Diether: Otto Dix im Selbstbildnis, Berlin 1981, S. 202.)Otto Dix zählt zu den bedeutendsten deutschen Malern und Grafikern des 20. Jahrhunderts. Bereits in seiner Schulzeit wurde sein künstlerisches Talent erkannt und gefördert. Nach seinem Stipendium an der Kunstgewerbeschule in Dresden von 1910 bis 1914 meldete Dix sich freiwillig zum Kriegsdienst und setzte nachfolgend sein Studium dort fort. 1919 begründete Dix die "Dresdner Sezession – Gruppe 1919" mit, lernte ein Jahr später George Grosz kennen und nahm an der "Ersten Internationalen Dada-Messe" in Berlin teil. Im Jahr 1922 reihte er sich als Meisterschüler an der Düsseldorfer Kunstakademie in die Avantgarde um die Galeristin Johanna Ey ("Mutter Ey") ein, und schloss sich der Künstlergruppe „Das Junge Rheinland“ an. 1924 trat er der „Berliner Sezession“ bei. In den 1920er Jahren entwickelte Dix in seinen Werken eine zunehmend realistischere Darstellungsweise mit der er den Alltag und den Menschen schonungslos verbildlicht und so kritisch die sozialen und menschlichen Folgeerscheinungen des Krieges thematisiert. Von den Nationalsozialisten diffamiert, verlor Dix seine Professur an der Kunstakademie in Dresden. Er widmet sich der Landschaftsmalerei und allegorischen Themen, konnte aber in seinen Werken nie mehr die Kraft aus den 1920er Jahren erreichen.Otto Dix war wie George Grosz als Maler des gesellschaftlichen Lebens in den Metropolen unweigerlich auch mit dem Problem der Prostitution konfrontiert. Stellten Prostituierte, in seinen Bildern meist als Dirnen bezeichnet, doch eine zwar gesellschaftlich geächtete, aber sozial relevante Gruppe gerade in den Nachkriegsjahren während der Weimarer Republik dar. Dix, der in den 1920er Jahren in deutschen Metropolen lebte, hatte entsprechend Gelegenheit, die Milieus kennenzulernen. Auffallend ist, dass Dix Bildnisse von Müttern und Ehefrauen als schöne Frauen auffasste, Prostituierte bei ihm hingegen hässlich, verlebt, ausgemergelt und stark geschminkt erscheinen. Der „Frauenkopf“ zeigt unbarmherzig genau eine eckige, knochige, kantige Gestalt, das Gesicht ist unter der weißen Schminke mit viel aufgetragenem Wangenrouge, Lippenstift und Lidschatten zur Maske erstarrt. Das ungekämmte, strähnig um das Gesicht herabwallende Haar, die niedrige Stirn, das vortretende Kinn und die überbetonte dicke Lippen geben dem Antlitz etwas Urmenschliches oder Animalisches. Dix zielt mit seinem Sujet der Dirne auf eine Enttabuisierung des Geschlechtlichen. Das Interesse des Künstlers an diesem Motiv entspringt seiner eigenen Triebhaftigkeit, so malt Dix seine eigenen Erfahrungen und nicht bloß Objekte. Er verurteilt seine Modelle nicht, sondern macht sie als neue gesellschaftliche Klasse sichtbar, was dem bürgerlichen Publikum, das er als geheimen Nutznießer der sozialen Situation ausmacht, als Provokation erscheinen musste. So verwundert es nicht, dass Galeristen und Museumdirektoren wie Ludwig Justi und Gustav Friedrich Hartlaub diese Bilder nicht ausstellen wollten. 1923 musste Dix sich wegen dieser anstößigen Bilder sogar vor Gericht verantworten.   Otto Dix (1891 Gera - 1969 Singen) (F)'Frauenkopf' (Head of a prostitute), watercolour and Indian ink on paper, 1925, sheet size 39.5 cm x 30 cm, signed, inscribed on the reverse 'Frauenkopf unverkäuflich' and with pencil sketches of a male figure and a column, dimensions ca. 14.5 cm x 17 cm, slightly cockled, edges of the paper slightly worn, with remnants of former mounting on the reverseProvenance: Hauswedell & Nolte 1975; Ketterer 1978; Hauswedell & Nolte 1979; private collection, Hanover (upon request)Literature: Barton, Brigid S.: Otto Dix and Die neue Sachlichkeit 1918-1925, Michigan 1981, p. 151, VIII B9.Cat. rais. Pfäffle, Suse: Otto Dix. Werkverzeichnis der Aquarelle und Gouachen, Stuttgart 1991, p. 204, Nr. A 1925/7.''The idea of the painting is to truthfully depict prostitution in all its gruesome and dehumanizing effects, to castigate it as a social evil, and to convincingly portray its consequences, which are devastating to body and mind.'' (Otto Dix 1923, quoted in: Schmidt, Diether: Otto Dix im Selbstbildnis, Berlin 1981, p. 202.)Like George Grosz, Otto Dix, as a painter of social life in the metropolis, was inevitably confronted with the problem of prostitution. Prostitutes as a group, which he usually referred to derogatively in his paintings, were both socially ostracised and socially relevant, especially in the post-war years during the Weimar Republic. Dix, who lived in German metropolises in the 1920s, had ample opportunities to get to know the milieu. It is striking that Dix depicted wives and mothers as beautiful women, while prostitutes appear ugly, worn out, emaciated and heavily made up. The ''woman's head'' mercilessly portrays a bony, angular figure, the face is frozen into a mask under the white face powder and copious rouge, lipstick and eyeshadow. The unkempt, straggly hair flowing down around the face, the low forehead, the protruding chin and the overemphasized thickness of the lips give the countenance a primordial or animalistic quality. In depicting the subject of the harlot, Dix aimed to reduce taboos around the sexual. The artist's interest in the motif stems from his own libidinousness, so Dix paints his own experiences and not mere objects. He does not condemn his models, but provides them with visibility as a new social class, which must have seemed like a provocation to the bourgeois public, which he identifies as the secret beneficiary of this social situation. It is therefore not surprising that gallery owners and museum directors such as Ludwig Justi and Gustav Friedrich Hartlaub did not want to exhibit them and in 1923, Dix even had to stand trial for these ''indecent'' works.

Salvador Dalí (1904 Figueres/Spanien - 1989 ebenda) (F)'Surrealistischer Engel', 1984, Bronze, dunkel patiniert, auf Messingsockel, Maße (mit Sockel) 56 cm x 24,5 cm x 12 cm, signiert, Gießerstempel, 248/1500 nummeriert, anbei: Broschüre zur Edition Rom Y Rom, Heidelberg"Mein ganzer Ehrgeiz auf dem Gebiet der Malerei besteht darin, die Vorstellungsbilder der konkreten Irrationalität mit der herrschsüchtigsten Genauigkeit sinnfällig zu machen." (Salvador Dalí)Der Maler, Bildhauer, Grafiker, Schriftsteller und Bühnenbildner, Salvador Dalí, wurde am 11. Mai 1904 als Salvador Felipe Jacinto Dalí i Domènech in Figueres, Katalonien geboren. Der exzentrische Maler gilt als ein Hauptvertreter des Surrealismus und einer der bedeutendsten Künstler des 20. Jahrhunderts.1922 begann Dalí ein Studium an der Akademie von San Fernando in Madrid. Auf Grund ungebührlichen Betragens wurde er auf königlichen Erlass verwiesen. 1927 lernte Dalí während einer Parisreise Pablo Picasso kennen und trat 1929 der Gruppe der Surrealisten bei. In Paris macht er Bekanntschaft mit dem Dichter Éluard und dessen Frau Gala, welche fortan seine Lebensgefährtin, größte Inspiration und Muse wird. Im umfangreichen Oeuvre Dalís finden sich immer wiederkehrende Elemente wie das Unterbewusste, Verschlüsselte und Mystische wieder. Dalí konnte sowohl im europäischen Ausland, als auch in den USA Erfolge feiern. So war er unter anderem 1978, 1984 und 2015 auf der Biennale von Venedig und 2012 auf der documenta in Kassel vertreten. Salvador Dalí (1904 Figueres/Spain - 1989 ibid)Surrealist angel, 1984, bronze, dark brown patina, brass plinth, height with plinth 56 cm x 24.5 cm x 12 cm, signed, numbered 248/1.500, with foundry stamp, published by Edition Rom Y Rom, Heidelberg, with edition brochure“My whole ambition in the field of painting is to make the imaginary images of concrete irrationality manifest with the most imperious precision.” (Salvador Dalí)Painter, sculptor, graphic artist, writer and stage designer, Salvador Dalí was born Salvador Felipe Jacinto Dalí i Domènech on 11th May 1904 in Figueres, Catalonia. The eccentric painter is considered a main representative of Surrealism and one of the most important artists of the 20th century.In 1922 Dalí began studying at the Academy of San Fernando in Madrid. However, he was later expelled by royal decree due to improper behaviour. In 1927, Dalí met Pablo Picasso during a trip to Paris and joined the Surrealist group in 1929. In Paris he made the acquaintance of the poet Éluard and his wife Gala, who from then on became his companion, greatest inspiration and muse. In Dalí's extensive oeuvre, recurring elements such as the subconscious, the coded and the mystical can be found. Dalí became successful in both Europe and the USA. Among many other exhibitions, he was represented at the Venice Biennale in 1978, 1984 and 2015 and at the documenta in Kassel in 2012.