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λ Elwin Hawthorne (British 1905-1954)Grosvenor Road, ChelseaWatercolour16 x 24cm (6¼ x 9¼ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Trees at Bourne EndWatercolourSigned (lower left)15 x 22cm (5¾ x 8½ in.)Executed in 1950.THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)Tide Mill, WoodbridgeWatercolour12.5 x 17.5cm (4¾ x 6¾ in.)Executed in 1935.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Essex LandscapeOil on boardSigned (lower right); further signed and titled (verso)25 x 39.5cm (9¾ x 15½ in.)Painted in 1930, it has been suggested that the artist re-visited the work in the early 1950s as the treatment of the clouds is more consistent with this later period.Exhibited:London, Alex Reid & Lefevre, 1930, ex. cat. (according to artist's logbook)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.   

λ Elwin Hawthorne (British 1905-1954)Harbour Arm, HastingsWatercolour12.5 x 17.5cm (4¾ x 6¾ in.)Executed circa 1930s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Elwin Hawthorne (British 1905-1954)Grove Park Road, W4Oil on boardSigned (centre left)28.5 x 39cm (11 x 15¼ in.)Painted in 1936.Provenance:Estate of the artistThence by descent to the present ownerExhibited:London, Alex Reid & Lefevre, March-April 1936, no. 29THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative. Condition Report: In good original condition. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

λ Phyllis Bray (British 1911-1991)Portrait of a boyWatercolour21 x 13cm (8¼ x 5 in.)Executed circa 1930s.Provenance:The collection of Walter Steggles (1908-1997) (a gift from the artist)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Hawthorn (British 1909-1996)Upminster MillOil on boardSigned (lower left)24 x 38cm (9¼ x 14¾ in.)Painted circa 1970s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Hawthorn (née Leahy) (British 1909-1996)Blue vase, porcelain dog & lemonsOil on canvasboard39.5 x 29.5cm (15½ x 11½ in.)Painted circa 1970s.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Lilian Leahy (British 1909-1996)Litlington, SussexOil on boardSigned (lower left); variously inscribed (verso)27 x 36cm (10½ x 14 in.)Painted in 1934.Provenance:Estate of the artistThence by descent to the present ownerTHE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

λ Walter Steggles (British 1908-1997)Dorset Great HeathOil on canvasSigned (lower right)56 x 86.5cm (22 x 34 in.)THE EAST LONDON GROUPBorn out of classes for working men and women at the Bow and Bromley Evening Institute in the mid-1920s, the East London Group is a remarkable story of a journey from humble beginnings to the lauded galleries of the west end and beyond. The group's teacher, John Cooper, was a pivotal character in this story. An artist himself, he had attended the Slade School of Art after the First World War and supplemented his income by teaching in the evenings. He encouraged the artists, the vast majority of whom did not come from privileged backgrounds, to paint what was around them and what they saw on an everyday basis. His connection to the Slade brought a number of influential and established artists to Bow, none more so than Walter Sickert. This creative atmosphere was an inspiration to those who dedicated their spare time to the group - most of those studying under Cooper were painting purely in their spare time in addition to working as tradesmen, shop girls, window cleaners and basket makers during the day. David Buckman, in his seminal book on the subject: 'From Bow to Biennale' (2012), numbers 35 eventual members of the group. Among the main protagonists were brothers Walter and Harold Steggles, Elwin Hawthorne and his future wife Lilian Leahy, Henry Silk, Albert Turpin, Brynhild Parker and Phyllis Bray (Cooper's wife). Showing as the East London Art Club, an exhibition at the Whitechapel Art Gallery in 1928 began a chain of events that led to a further exhibition at what was the Millbank Gallery (now Tate) in 1929 and onto a succession of shows between 1929 and 1936 at the prestigious Lefevre Gallery in King Street, St. James's. Lefevre was one of the leading galleries of the day, with a rich stable of artists and exhibitions including the likes of Picasso, Matisse, Degas, Modigliani and Cezanne. The shows were commercially very successful and also frequently garnered critical praise. This short period witnessed unparalleled productivity for the group - documenting the east end of London in the interwar years. Although many of the artists continued to paint beyond these years, it is the work from this era which is the most exciting and evocative.  

An Edgar Degas print, framed

SEVEN HUMOUROUS PRINTS 'THE ARTISTS WIVES': 'Mrs Degas Vacuums the Floor'; 'Mrs Klimt Sews a Patchwork Quilt'; 'Mrs Rousseau Feeds the Pets'; 'Mrs Lichtenstein Sobs'; 'Mrs Toulouse-Lautrec Cleans the Toilet'; 'Mrs Matisse Polishes the Goldfish'; 'Mrs Gaugin Has a Tupperware Party', each 32cm x 23cm total framed size (7)

EDGAR DEGAS(1834 Paris 1917)Au Louvre: la peinture (Mary Cassatt). Um 1879/80.Aquatintaradierung auf creme-farbenem Velin.30,5 x 12,7 cm (Bogengrösse: 32,2 x 25 cm). Gerahmt.Delteil 29; Adhémar 54 wohl 20 (von 20). - Sehr schöner Druck mit Rändern um die Plattenkante. Im Passepartoutausschnitt lichtrandig. Die obere rechte Ecke und am linken unteren Rand mit leichten Gebrauchs- oder Restaurierungsspuren. Rückseitig mit Montageband am oberen Rand in ein Passepartout montiert. Insgesamt in guter Erhaltung.

After Edgar Degas, pencil nude study, framed and glazed, 19.5cm wide x 33.5cm high

** Edgar Degas (1834-1917) after by George-William ThornleySur le PlageLithograph, c.1888-1889, signed by Degas and Thornley in pencil, the edition was 25, printed by Atelier Becquet, Paris, published by Boussod-Valadon, Paris, on Chine appliqué supported on a green/greyish wove paper, sheet 361 x 480mm (14 1/4 x 18 7/8in) (unframed)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Edgar Degas (1834-1917) after by George-William ThornleyL'Attente de la ChanteuseLithograph, c.1888, signed by Degas and Thornley in pencil and with Thornley's blindstamp, the edition was 25, printed by Atelier Becquet, Paris, published by Boussod-Valadon, Paris, on Chine appliqué supported on a green/greyish wove paper, sheet 477 x 354mm (18 3/4 x 14in) (unframed)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

** Edgar Degas (1834-1917) after by George-William ThornleyLe JockeyLithograph, c.1888-1889, signed by Degas and Thornley in pencil, the edition was 25, printed by Atelier Becquet, Paris, published by Boussod-Valadon, Paris, on Chine appliqué supported on a green/greyish wove paper, sheet 383 x 504mm (15 1/8 x 19 7/8in) (unframed)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.

Circle of Edgar Degas 1834-1917. French. Oil on board. “Head Portrait of a Ballerina”.Measures 14cm x 19cmCondition Report – Good original condition. No obvious signs of restoration.

Artist: Edgar Degas (French, 1834 - 1917). Title: "Fete de la patronne [petite planche]". Medium: Original duogravure, after the monotype. Date: Composed 1878-1879. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove Marais "vellum" paper. Wide margins. Fine impression. Very good condition, very crisp, a pronounced platemark, and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29337-2-300]

Artist: Edgar Degas (French, 1834 - 1917). Title: "Trois filles assises de face". Medium: Original color gravure with pochoir, after the monotype. Date: Composed 1877-1879. Printed 1948. Dimensions: Overall size: 11 7/16 x 9 in. (291 x 229 mm).Lot Note(s): Signed in the plate, upper right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Very good condition, very crisp, paint residue center left margin, a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29331-2-400]

Artist: Edgar Degas (French, 1834 - 1917). Title: "Danseuse, vue de dos, les mains sur les hanches". Medium: Original color gravure with pochoir, after the monotype. Date: Composed c1873. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Lot Note(s): Signed in the plate, lower right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Fine condition, very crisp, with a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29327-2-600]

Artist: Edgar Degas (French, 1834 - 1917). Title: "Au repos, au salon". Medium: Original duogravure, after the monotype. Date: Composed c1879. Printed 1948. Dimensions: Overall size: 11 3/8 x 9 in. (289 x 229 mm).Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression. Very good condition, very crisp, a pronounced platemark, and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29339-2-400]

Artist: Edgar Degas (French, 1834 - 1917). Title: "Trois filles assises de dos". Medium: Original color gravure with pochoir, after the monotype. Date: Composed 1877-1879. Printed 1948. Dimensions: Overall size: 11 7/16 x 9 in. (291 x 229 mm).Lot Note(s): Numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove watermarked Marais "vellum" paper. Wide margins. Fine impression with delicately applied pochoir. Very good condition, very crisp, paint residue center left and right margins, a pronounced platemark and the expected light tanning to the sheet. Provenance: Ex-collection Marty Gordon (the legendary print dealer), Martin Gordon, Inc., New York City, his handstamp verso. Comment(s): Degas created a considerable body of monotypes in the late 19th century. A number of them were reduced in size and recreated as original works in 1938 and again in 1948, of which our example is part. The verso bears the handstamp of Edgar Achille Gaston DeGas-Musson (1875-1953), the son of Estelle Angelina Musson DeGas and Jean Baptiste Rene DeGas (the brother of Edgar Degas). [29332-2-400]

NO RESERVE Adriani (Gotz) Degas: Pastels, Oils, Sketches, Drawings, 1985 § Schapiro (Meyer) Vincent Van Gogh, 1982 § Zimmermann (M. F.) Les Mondes de Seurat, 1991; and 36 others, Impressionist art reference, v.s. (39)

Emile Friant (French, 1863-1932)Portrait of William Rothenstein signed, inscribed and dated 'a Will/Rothenstein/E. Friant/91' (lower right)pastel51 x 32.5cm (20 1/16 x 12 13/16in).Footnotes:ProvenanceThe estate of the artist.By decent through the Rothenstein family.Private Collection, UK.This sensitive and charming portrait of William Rothenstein was drawn in 1891. Emile Friant would have been twenty-eight and the young Rothenstein only nineteen. Rothenstein had left Bradford Grammar School three years earlier and enrolled at The Slade but travelled to Paris in 1889 to study at the Academie Julian where he would meet Whistler, Degas and Toulouse-Lautrec and share a studio with Charles Conder in Montmartre. By this time Friant, who had studied at the Ecole des Beaux Arts in Nancy and been awarded a scholarship to study under Alexandre Cabanel, had already won numerous prizes at the Paris Salon and been decorated with the ribbon of the French Legion of Honour. Sir William Rothenstein was to become a pillar of the British art scene - a regular exhibitor of portraits and landscapes with the New English Art Club, he is credited as a co-founder of the Carfax Gallery and wrote several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.The present portrait has remained in the artist's family since it was conceived and provides an interesting insight into the young artist as he stares confidently at the viewer. Rothenstein was well aware even at this tender age of the power of a good likeness, as was Emile Friant – both artists enjoyed the format and both also produced a number of self-portraits over the years.For further information on this lot please visit Bonhams.com

In the style of Edgar Degas (French, 19th century), a portrait of a ballerina holding a doll, oil on canvas, unsigned, 20 x 15ins

The Great Musicians in Weekly Magazines, art books famous artists Dufy, Degas, together with South Pacific picture disc, classical and easy listening LPs:- Two Boxes.

AFTER EDGAR DEGAS (1834 - 1917) FRENCH A BRONZE FEMALE FIGURE looking at the sole of her right foot. Signed No. 4/6 17.25ins high.

Box: seven art monograph volumes, published Nouvelles Editions Francaises, Toulouse-Lautrec, Gauguin, Pissarro, Renoir, Degas, Cezanne, Van Gogh, all in slip-cases

Full title: French school, Illegibly signed: The birth procession, oil on canvas marouflated on panel, second half of the 19th C.Description: Work: 33,7 x 26,8 cm The signature difficult to read (Degas?).

Vintage reproduction of the 1893 advertising poster created by Henri de Toulouse-Lautrec to promote Divan Japonais, a café-chantant / theatre in Pigalle, Paris. The striking image shows two figures - writer Edouard Dujardin and dancer Jane Avril – in a crowd of people watching a performance by the French cabaret singer and Belle Epoque actress Yvette Guilbert. The Divan Japonais was founded in 1873 – the space was previously occupied by a ballroom patronized by Edgar Degas and Charles Baudelaire. Decorated in Japanese style, the Divan Japonais was frequented by many of Montmartre’s most notable celebrities, including Toulouse-Lautrec, Adolphe Leon Willette and Pablo Picasso. Printed in the Netherlands, Edition Stedeljik Museum, Amsterdam. Excellent condition. Country of issue: Netherlands, designer: Henri de Toulouse-Lautrec, size (cm): 79x60, year of printing: 1960s

A WATERCOLOUR AFTER TITIAN, 'Man with A Glove', unsigned, framed, size approximately 33cm x 24cm, together with a print after Degas 'Before Departure', framed, size approximately 35cm x 88cm and a Hunting scene print after R.B. Davis (3)

A collection of Crummles enamel snuff and patch boxes various designs include: Monarch of the Glen; Mare & Foals after Stubbs; The Melbourne & Milbanke Families after Stubbs; The Dancing Class after Degas also Royal mail, Millennium, birthdays etc (12) Q 

nach DEGAS, EDGAR (1834-1917), Skulptur: "Petite danseuse de quatorze ans" (Originaltitel; "Kleine Tänzerin von vierzehn Jahren"), Bronze auf Marmorpostament, hellbraun patiniert und farbig akzentuiert. Auf einem querrechteckigem Postament stehendes Mädchen mit hinter dem Rücken verschränkten Händen, der rechte Fuß seitlich vorgestellt; der Kopf ist leicht nach hinten geneigt, die Augen sind nahezu geschlossen. Posthumer, neuzeitlicher Guss / Reduktionskopie nach der ursprünglich in Wachs gefertigten und naturalistisch bemalten Tänzerin, die Degas als einzige seiner plastischen Arbeiten zu Lebzeiten ausstellte. Auf der Plinthe vertiefte Künstlerbezeichnung und auf Gießeremblem "Bronze AB Austria" bezeichnet. H. 38 x B. 18 x T. 13 cm.

An unframed Oil on canvas Copy, Edgar Degas 'Racehorses before the stands'.

Illustrated art history and art technique volumes:The Works of Hogarth with Sixty-Eight Illustrations (J. Dicks - 313 The Strand)3 Nouvelles Editions Francaises (Cezanne, Toulouse-Lautrec and Les Impressionistes)5 Medici Society folders (Turner, Van Gogh, Pieter de Hooch, Reynolds and Rubens)Edgar Degas - Ballet Dancers (Folio Society 1960)Understanding Watercolours (Antique Collectors' Club - 1985)The Technique of Watercolour Painting (Isaac Pitman & Sons - War Economy Standard)The Student's Book of Etching (Isaac Pitman & Sons 1938)Making a Lithograph (1936)Penquin Modern Painters (Paul Nash (1944) and Henry Moore (1944)Pitmen Painters - The Ashington Group (1993) 

Two Pablo Picasso prints, an Edgar Degas print and a Fritz Henle print

AFTER EDGAR DEGAS (1834 - 1917) FRENCH A BRONZE FEMALE FIGURE looking at the sole of her right foot. Signed No. 4/6 17.25ins high.

Französische Bibliophilie - Degas, Edgar - - Edgar Degas. (1834 - 1917 Paris). Mimes des courtisanes de Lucien. Mit 22 prachtvollen Aquatinta-Radierungen und 13 Textlithographien nach Monotypien von Edgar Degas. Paris, Ambroise Vollard, 1935. IX, 83 S., 8 Bl. Halbpergament d. Zt. mit braunem RSchild und goldgeprägten RTitel, Umschlag mit eingebunden (Einband minimal berieben und bestoßen). Monod 7422. - Skira 56. - Carteret IV, 253 ("Publication recherchée et cotée"). - Eins von 305 nummerierten Exemplaren sur vélin de Rives. Seit Ende der 1880er Jahre wandte sich Degas dem Boudoir und den Maisons Clos zu. Es enstanden zahlreiche Monotypien von nackten Frauen bei verschiedenen teils erotischen Tätigkeiten, die aufwendig von Maurice Potin nach den von Ambroise Vollard erworbenen Originalen Degas gestochen worden. Die prachtvollen Tafeln davon 4 in Farbe und 3 auf Japanpapier zeigen in kontrastreichen Abzügen mit einem observativen Blick das Mysterium der Pariser Bordelle. - Breitrandiger Druck in der Garamond bei Jourde in Paris. Druck der Lithographien bei Auguste Clot. - Innen wohlerhalten und breitrandig. With 22 splendid aquatint etchings and 13 text lithographs after monotypes by Edgar Degas. Half vellum with brown plate and gold embossed spine title (OCover bound in, binding minimally rubbed and bumped). One of 305 numbered copies on vélin de Rives. From the late 1880s Degas turned his attention to the Boudoir and Maisons Clos. He created numerous monotypes of naked women during various partly erotic activities, which elaborately by Maurice Potin after the originals Degas acquired by Ambroise Vollard has been stung. The splendid plates, 4 of them in colour and 3 on Japan paper, show the mystery of the Paris brothels in high-contrast prints with an observant eye. - Wide-margined impression in the Garamond at Jourde in Paris. Lithographs printed by Auguste Clot. - Inside well preserved and with wide margins.

DEGAS ???Study of a BowlOil on canvasInscriptions front and back15.5x16.5cm

Edgar Degas (1834-1917) after by George-William ThornleyA La BarreLithograph, 1888-89, signed by Degas and Thornley in pencil, and with Thornley's blindstamp, the edition was 25, printed by Atelier Becquet, published by Boussod-Valadon, Paris, on Chine appliqué supported on blue wove paper, with full margins, sheet 476 x 613mm, (8 ¾ x 24 1/8 in) (unframed)

Feilchenfeldt (Walter). Vincent van Gogh, The Years in France, complete paintings 1886-1890, 1st English edition, London: Philip Wilson, 2013, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, together with; Young (Marnin), Realism in the Age of Impressionism, Painting and the Politics of Time, 1st edition, New Haven: Yale University Press, 2015, colour illustrations, original cloth in dust jacket, as new in original plastic wrap, 4to, plus Maheux (Anne & Jean Sutherland Boggs), Degas Pastels, 1st edition, London: Thames & Hudson, 1992, numerous colour illustrations, original cloth in dust jacket, folio, and other Impressionism reference & related, many original cloth in dust jackets, some paperback editions, some as new in original plastic wrap, G/VG, 8vo/folioQty: (3 shelves )

DAVID HOCKNEY INTEREST: A 19th/20th CENTURY FIVE-PANEL SCREEN The mahogany frame with two brass collars on each edge, blank canvas panels Each panel 200 x 79cm; sold with a poster from the 1981 exhibition, showing Hockney standing by this screen. (2) * This screen features in Hockney's Looking at Pictures on a Screen (1977) and was lent to the artist by the vendor's husband. The browser in the original oil was Hockney's friend Henry Geldzahler of the Metropolitan Museum in New York. During the 1970's the National Gallery instituted a program of exhibitions titled "The Artist's Eye". The museum invited a nominated artist to curate a small exhibition selecting works from the museum collection as well as his own work. Hockney's exhibition in 1977 was the last in the series. He decided to include the Vermeer, Piero de la Francesca, Van Gogh and Degas paintings which he had painted on the screen in his own painting Looking at Pictures on a Screen. This screen with the reproductions pinned onto it was also on view. Provenance: The vendor's husband collaborated with Hockney from 1963, publishing prints and being closely involved with the artist's exhibitions, opera sets and other aspects of Hockney's life.

Folio, containing Edgar Degas: Ten ballet sketches, limited edition portfolio of 3500 copies, Leslie Moffat Ward, R.C., 'Cannon Street', charcoal and pencil and other interesting drawings and engravings(Quantity)

Degas, Edgar (Paris 1834 - 1917 Paris) "Mademoiselle Nathalie Wolkonska", Radierung, späterer Abzug von der org. Platte (diese um 1867), hier aus einer limitierten Auflage von 600 Exemplaren, für die Editions Rencontre, ca. 14,7 x 11,5 cm, unt. Glas ger., Gesamtgröße: 40 x 30 cm, 2687 - 0022

ART EXHIBITION POSTERS: "A Maverick Eye: The photography of John Deakin" featuring Francis Bacon holding lamb carcass, dated 2003, 68 x 48cm, together with a collection of similar art exhibition posters dating from 1977-2004 and featuring Terry Setch, Nick Daziger, Hideo Furuta, Nicola Hicks, Todd Webb, Fay Godwin, Edgar Degas ETC.Condition: Deakin poster with "wrinkles" near the venue information and in the top left area, in polished aluminium frame, all others unframed.There are approximately twenty posters included in this lot.

AFTER EDGAR DEGAS Danseuses (Pink and green), oil on canvas, 74 x 66cm Daniel Delamere Gallery, Paris, with certificate Condition Report: Available upon request

Edgar DegasTänzerin, ihre Fußsohle betrachtendBronzeH. 100 cmSigniert unten am Fuß der Bronze: DegasAuflage unbekanntdeutsche Privatsammlung

FIVE BOXES OF BOOKS ON THE SUBJECTS OF ART AND ARCHITECTURE, publishers include Tate Gallery - Max Ernst, late Picasso, Cezanne, George Stubbs, etc, Royal Academy - Picasso, Kandinsky, Mantegna, John Sloan, etc, other artists covered by other publishers include Man Ray, Lucien Freud, Renoir, Frank Lloyd Wright, Degas, David Hockney, Egon Schiele, etc

MAX LIEBERMANN(1847 Berlin 1935)Bildnis des Kaufmanns Robert Neumann. 1925.Öl auf Leinwand.Oben rechts signiert: M. Liebermann.54,3 × 42,2 cm.Wir danken Sandra Sykora für die freundliche Hilfe und ihre wissenschaftliche Unterstützung.Provenienz:- Robert Neumann, Berlin, direkt beim Künstler erworben.- Max Neumann, Königsberg, von Obigem erhalten.- Eva Ilse Neumann, geb. Goldstaub, Königsberg, 1933 durch Erbschaft von Obigem erhalten.- Privatbesitz USA, durch Erbschaft von Obiger erhalten.Literatur:Matthias Eberle: Max Liebermann, Werkverzeichnis der Gemälde und Ölstudien 1900–1935, Bd. II, S. 1132, Nr. 1925/10 (mit Abb.).Die Sammlung Robert NeumannEine Sammlung, zwei Wege, dazwischen der Atlantik: Die Schicksale der beiden Gemälde von Max Liebermann, die hier in der Auktion angeboten werden, des "Bildnis des Kaufmanns Robert Neumann" (Los 3202) und der "Studie zu den Netzflickerinnen" (Los 3203), könnten unterschiedlicher nicht sein. Dabei gehörten sie einst beide dem jüdischen Kaufmann Robert Neumann (1875–1937), der in Berlin und im ostpreussischen Königsberg Warenhäuser mit dem Namen "Sommerfeld" besass und eine beachtliche Kunstsammlung mit Werken u.a. von Monet, Degas, Gauguin, Sisley, Corinth, Leible, Cranach d.Ä. und anderen zusammengetragen hatte. Offenbar war Robert Neumann auch ein grosser Verehrer der Kunst von Max Liebermann, dem er 1925 für das hier angebotene feinfühlige Porträt Modell sass. In diesem Jahr feierte Robert Neumann seinen fünfzigsten Geburtstag – vielleicht der Anlass für den erfolgreichen Unternehmer Bilanz zu ziehen und sich mit Anzug, Gilet, weissem Hemd, Krawatte und Einstecktuch gepflegt und doch zurückhaltend verewigen zu lassen. Von Max Liebermann besass Neumann noch weitere Gemälde, unter anderem ein Selbstbildnis des Künstlers "nach rechts mit der Zigarette in der Linken" (1902), sowie den "Rosengarten in Wannsee mit der Tochter und der Enkelin des Künstlers". Diese zauberhafte intime Gartenansicht von 1920 schenkte Robert Neumann seinem Sohn Max 1926 anlässlich dessen Hochzeit mit Eva Ilse Goldstaub, der Tochter eines prominenten Anwalts. Auch das hier angebotene Porträt seines Vaters erhielt schliesslich Max Neumann, der in Königsberg die Filiale seines Vaters führte. Schon im März 1933 jedoch wurde Max Neumann Opfer des brutalen Überfalls eines NS-Schlägertrupps; seine Witwe floh mit der 1927 geborenen gemeinsamen Tochter Toni zunächst in die Niederlande, später in die USA. Den "Rosengarten" sowie das Porträt ihres Schwiegervaters Robert Neumann nahm sie mit in die neue Heimat, wo sie im November 1938 ankam.Die "Netzflickerinnen" stammen dagegen aus der Sammlung des Breslauer Sammlers Max Böhm, der ebenfalls von Max Liebermann porträtiert worden war. Im Januar 1931 lieferte Böhm seine Sammlung im Auktionshaus Lepke ein, doch viele Werke gingen zurück: Mitten in der Weltwirtschaftskrise war die Zeit für Kunstverkäufe nicht günstig. Jedenfalls hat sich im Zentralarchiv der Staatlichen Museen Berlin ein Schreiben vom 18. Februar 1931 erhalten, in dem Max Böhm die "Netzflickerinnen" zusammen mit anderen Werken dem damaligen Direktor der Nationalgalerie Ludwig Justi zum Kauf anbot. Das Museum lehnte aber mit Verweis auf den fehlenden Ankaufsetat ab. Offenbar übernahm stattdessen der jüdische Kunsthändler Dr. Fritz Nathan das Gemälde und vermittelte es an Robert Neumann weiter.1936 emigrierte Robert Neumann mit seiner zweiten Frau Ilse Neumann, geb. Meinhart-Tucholsky (1887–1940), einer Cousine des Schriftstellers Kurt Tucholsky (1890–1935), ins italienische Meran. Der Kunsthändler Nathan seinerseits wanderte in die Schweiz aus. Durch einen geschickten Schachzug gelang es Nathan, nach und nach insgesamt 54 Werke der Neumann’schen Kunstsammlung vor dem Zugriff der Nationalsozialisten zu bewahren, darunter die "Netzflickerinnen": Er deklarierte sie mit der Hilfe des damaligen Stadtpräsidenten von St. Gallen, Konrad Nägeli, kurzerhand als Dauerleihgabe des dortigen Kunstmuseums und lagerte sie dort ein. Im Juni 1936 schenkte Robert Neumann die in St. Gallen befindlichen Kunstwerke seiner zweiten Frau Ilse Neumann und verschied 1937 in Meran. Seine Witwe, deren Ausweispapiere abgelaufen waren, konnte, wiederum mit der Hilfe von Nathan und Nägeli, von Italien in die Schweiz ausreisen und emigrierte schliesslich im Juli 1939 in die USA. Zuvor betraute sie Nathan mit dem Verkauf ihrer Sammlung; diese wurde teilweise an Privatsammler vermittelt, teilweise von Museen übernommen und teilweise bei der Galerie Fischer Luzern 1941 in die Auktion gegeben. Auch die "Netzflickerinnen" wurden dort mit gutem Erfolg verkauft. Ilse Neumann verstarb bereits 1940, nur wenige Monate nach ihrer Ankunft in den USA. Ihre in der Schweiz verbliebene Kunstsammlung beziehungsweise den Erlös des Verkaufs vermachte sie testamentarisch der Tochter ihres verstorbenen Mannes, Irmgard Neumann, sowie seiner Enkelin, Toni Neumann, der Tochter des Sohnes Max Neumanns. Nach intensiven Recherchen konnten kürzlich alle Erben nach Ilse Neumann ausfindig gemacht und eine einvernehmliche Lösung für den Verkauf der "Netzflickerinnen" mit ihnen gefunden werden. Die Freude war gross, als im Laufe der Verhandlungen mit einem der Erben nach Toni Neumann dieser dem Auktionshaus Koller auch das "Bildnis des Kaufmanns Robert Neumann" zum Verkauf anvertraute. Das Porträt des Urgrossvaters befand sich immer noch im Besitz der Familie und trat nun ein zweites Mal den Weg über den Atlantik an.Sandra Sykora, Juristin und Kunsthistorikerin.Wir danken dem Kunstmuseum St. Gallen für Hinweise zur Sammlung Neumann.

A box of Art books including Degas, Toulouse-Lautrec, Turner, Van Gogh, Owen Jones 'Grammar of Ornament' published Studio Editions etc

A collection of 13 art books, artists mainly associated with Impressionism, Post Impressionism, British Impressionism, Camden Town Group etc, including James Mcneill Whistler, John Singer Sargent, Walter Sickert, Wilson Steer, Edgar Degas etc, titles include Ormond: 'Sargent Portraits of Artists and Friends', NPG, 2015, 1st edition, orig. cloth, dust wrapper; Dorment & Macdonald: 'James McNeill Whistler', 1995, orig. pictorial wraps; 'Whistler, Sargent & Steer. Impressionists in London from Tate Collections', 2002, orig. wraps; 'Degas, Sickert and Toulouse-Lautrec London and Paris 1870-1910', Tate, 2005, orig. wraps; Baron & Shone: 'Sickert Paintings', 1992, orig. wraps; Connett: 'Walter Sickert and the Camden Town Group', 1992, 1st edition, orig. cloth, wrapper; McConkey: 'British Impressionism', 1998, orig. wraps; plus 6 others. From the collection of Nicholas Simington (1930-2020), DA Glasgow School of Art, professional artist of over 40 years, who exhibited at The Serpentine Gallery, London, and in one-man shows in numerous galleries across the UK. Following his studies at the Glasgow School of Art from 1968-1972, he taught at Garrion Academy before moving to Norfolk in 1975, from then on painting tirelessly and producing an impressive body of work. To his delight, at the age of 83, he was shortlisted for the Artist of the Year award by Artists & Illustrators magazine, and he continued to paint every day until he was 86

Victoria and Albert Museum Dept of Circulation - Binder of prints - Selection of unframed mounts of famous works of arts and rare textiles - Leonardo Da Vinci - John Constable, etc, the binder having original receipt to inner front board ' Guernsey, 1956, 25 mounts', each board with attached title of works and ' LENT BY THE VICTORIA AND ALBERT MUSEUM'. comprising - HORSE'S HEAD, from the original drawing by Pisanello (c. 1395-1455); FARMYARD WITH FIGURES IA A LANDSCAPE, pen and Indian ink, Francis Barlow (1626-1702); A BEAR, pen and ink, Sinibaldo Scorza (1589-1702); HORSE LYING DOWN, pen and bistre, Hans Baldung (1470/6-1552); STUDIES OF CATS, pen and ink with touches of wash, over black chalk, Leonardo Da Vinci (1452-1519); STUDY OF CAT, charcoal, T. A. Steinlen (1859-1923); THE ZEBRA OF THE EMPEROR JEHANGIR, Mughal miniature painting, Ustad Mansur (1620); TREES IN LEICESTERSHIRE, pencil, John Constable (1776-1837); IRIS, watercolour, Johann Walther the Elder (worked c.1637-1650); A HARE, water and body colour, Albright Durer (1471-1528); RECUMBENT NUDE, brush, Bernard Meadows; RECUMBENT NUDE, chalk, Ruskin Spear; STANDING NUDE, pencil drawing, Ceri Richards; MOTHER AND CHILD, pen and ink and wash, Francesco Barbieri (1591-1666); MALE NUDE SEEN FROM THE BACK, red chalk, Leonardo Da Vinci (1452-1519); STUDY OF NUDE, pencil, Hilaire Germain Edgar Degas (1834-1917); A MODEL, chalk drawing, Georges-Pierre Seurat (1859-1891); STUDIES OF A MALE NUDE, pencil drawing, Jean-Auguste-Dominique Ingres (1780-1867), together with prints of rare textiles to include Byzantine, 10th century, silk tissue; scarf, silk and gold brocade, Polish, 18th century, etc etc. (quantity) * Fascintating visual view of copies of some of the rarest works by the best artists ever known. ** The prints pasted down to card, mostly very good condition, boards and cover with light wear, stains and broken clasp.

Sir William Rothenstein (British, 1872-1945)Self-portrait oil on canvas60.9 x 50.9 cm. (24 x 20 in.)Painted circa 1925-30Footnotes:ProvenanceThe Artist, thence by family descentPrivate Collection, U.K.Sir William Rothenstein was a man of broad talents. Born in Bradford in 1872, the fifth of six children to Bertha Dux and Moritz Rothenstein, a German-Jewish textile merchant. William proved his artistic prowess at a young age as evidenced by a highly competent boyhood self-portrait now in Sheffield Museums' collection. A regular exhibitor of portraits and landscapes with the New English Arts Club, Rothenstein is credited as a co-founder of the Carfax Gallery (there responsible for developing the English reputation of Rodin's sculpture) and authored several books including the first English monograph of Goya's work in 1900. He later became principal of the Royal College of Art and Trustee of the Tate Gallery, receiving a knighthood in 1931. A society figure, the National Portrait Gallery now holds more than 200 Rothenstein portraits of notable figures of his age, and his three-part memoirs Men and Memories features anecdotes about Oscar Wilde, Max Beerbohm, James Whistler, Paul Verlaine, Edgar Degas, and John Singer Sargent.Rothenstein painted at least thirteen self-portraits in oils throughout his life, and together they present his many guises: a confident youngster, a war artist, an educator, and collector. Nine of the thirteen known self-portraits are in institutional collections including The Metropolitan Museum of Art, New York, The National Portrait Gallery, London, and the Royal College of Art, London. The present example has remained in the artist's family since its execution. Painted in the cottages of Iles Farm, Far Oakridge, Gloucestershire, to which the Rothenstiens moved in the mid-1920s, it is not thought to have been previously published or exhibited.For further information on this lot please visit Bonhams.com

A colour print After Degas, Ballet, 85 x 68 cm, framed.

After Degas (19th century French school) - Shoulder length study of the head of a young woman, (copy of a portrait in the Louvre) oil on board, with reproduction of the original Degas verso, no visible signature, 26.5 x 21cm approx, framed

A selection of framed artist poster prints including Degas and Marc Chagal, A Gaiety Girl by Dudley Hardy and Vogue cover

†A vintage oak framed Degas ballerina group print - sold with a two image antique French fashion print and Vogue cover print

Edgar Degas (1834-1917)Les Marlous Monotype, circa 1880, on wove paper, very rare, one of only two impressions printed, with the studio ink stamp ATELIER ED. DEGAS verso, with wide margins, in good conditionPlate 123 x 175mm. (4 3/4 x 6 3/4in.); Sheet 208 x 279mm. (8 1/8 x 11in.)Footnotes:ProvenanceThe artist's studio.Part of the fifth posthumous Atelier Degas sale, Galerie Manzi-Joyant, Paris, 22 and 23rd of November 1918 (lot 266).Gutekunst & Klipstein, 1954 (price £90), where acquired.Fritz Gross Collection, London.Bonhams, Prints & Multiples, London, 18 December 2018, lot 35.Private Collection. Acquired from the above sale.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com