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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

Artist: Edgar Degas (French, 1834 - 1917). Title: "Un client serieux". Medium: Original duogravure, after the monotype. Date: Composed 1877. 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). [29338-2-400]

Artist: Edgar Degas (French, 1834 - 1917). Title: "Chanteuse du café-concert". Medium: Original color gravure with pochoir, after the monotype. Date: Composed c1875-1876. Printed 1948. Dimensions: Overall size: 10 11/16 x 9 in. (271 x 229 mm).Lot Note(s): Signed in the plate, upper right; numbered in pencil, lower left; handstamps verso. Edition of 500. Cream wove 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). [29328-2-400]

Pastell auf Papier 23,7 x 35,5 cm Unter Glas gerahmt. Unten links mit der roten Stempelsignatur "Degas" (Lugt 658) sowie nur schwach erkennbar mit dem ovalen roten Stempel "ATELIER ED. DEGAS" (Lugt 657) versehen. - Auf Papier aufgezogen.Lemoisne 224; Michel Schulman, Edgar Degas: Digital Critical Catalogue MS-1350Wir danken Michel Schulman, Paris, für freundliche AuskünfteProvenienzAtelier Degas, 4. Vente, Nr. 49 a; Sammlung Albert Pra, Paris; Vente Pra, Paris, Hôtel Charpentier, 17. Juni 1938, Lot 13; Galerie Schmit, Paris; Privatsammlung, SchweizAusstellungenParis 1975 (Galerie Schmit), Degas, Nr. 12 ("Etude de ciel"); Paris 2005 (Galerie Schmit), Maîtres Francais des XIXème et XXème siècles, Nr. 19 ("Rivage et ciel"), jeweils rückseitig mit dem Galerie-EtikettLiteraturJacques Lassaigne/Fiorella Minervino, Degas, Paris 1974, Nr. 327 mit Abb. S. 101Edgar Degas hielt sich im Sommer 1869 in den Seebädern Villers-sur-Mer und Etretat an der französischen Kanalküste auf. Hier entstand unter dem Eindruck des Meeres und des endlos erscheinenden Himmels eine Reihe von Landschaftspastellen - ein Novum für den Großstadtmaler. Tatsächlich blieb diese stimmungsvolle Serie eine singuläre Episode in seinem Oeuvre, da Degas bei der Arbeit im Freien unter Problemen mit seiner Sehkraft zu leiden begann. In diesen zarten Landschaftsstudien entdeckte Degas erstmals das für sein gesamtes weiteres Schaffen so wichtige Medium der Pastellkreiden für sich und gelangte in der Verwendung dieser Technik schnell zu höchster Ausdruckskraft. „Im Pastell war ein adäquates Sprachmittel gefunden, um die verhaltene Farbigkeit und die Linienarabesken einer Landschaftssilhouette in schnell gesetzten Farbstrichen zu entwickeln. […] Als Cézanne im Aquarell ein ihm angemessenes Medium erkannte, machte Degas, beginnend mit der Landschaftssuite von 1869, das Pastell, neben der Zeichnung mit Bleistiften, Kreiden und Kohle, zu seinem zentralen Darstellungsmittel. Rasch fand er heraus, dass sich in dieser Technik Strichführungen wie selbstverständlich mit malerischer Dichte verbinden oder dass sich feste Stofflichkeit mit zarten, den Papiergrund zur Mitwirkung verhelfenden Transparenzen konfrontieren lässt. Er zeichnete mit Stiften verschiedener Härte, während er mit den Fingerkuppen, mit weichen Pinseln und Wischern malerische Wirkungen zu erzielen vermochte.“ (Götz Adriani, Edgar Degas. Pastelle, Ölskizzen, Zeichnungen, Ausstellungskat. Kunsthalle Tübingen/Nationalgalerie Berlin 1984, Köln 1986, S. 50). Die flüchtigen Naturerscheinungen dieser von Wind und Wolken bestimmten Meereslandschaft, in denen Farben und Helligkeitswerte einem steten Wandel unterworfen sind, erfasste der Künstler meisterhaft in zartesten Nuancierungen. Er folgt damit den englischen Meistern der Romantik, die sich in den 1820er und 1830er Jahren in intensiven Naturbeobachtungen mit den Erscheinungsphänomenen von Himmel und Wolken beschäftigten. Insbesondere John Constable wurde mit seinen Ölstudien von Wolkenformationen berühmt, denen er sich mit größer Ausführlichkeit und naturwissenschaftlichem Anspruch widmete; sein Zeitgenosse William Turner begann um 1810 mit aquarellierten, atmosphärischen Himmelsbeobachtungen, die er zu dynamischen Abstraktionen steigerte.

ELIE ANATOLE PAVIL (1873-1948) Paris, Porte St. Denisoil on canvas 39 x 46 cm Provenance: Myers Fine Art, lot 145 Borodulin Collection Elie Anatole Pavil was born in Odessa in 1873. He came to Paris in 1892 and established himself in Montmartre, on the Rue Caulaincourt. He arrived at the high point of La Belle Époque; Pavil dedicated himself to capturing its atmosphere on canvas. For most of the next fifty years he painted the cafes, the beautiful women, the jazz bands and artist ateliers of Paris. His paintings show an intimate knowledge of the inhabitants of the streets and alleys of Montmartre. Elegant couples dancing, beautiful models posing, working men finishing their day with a drink at the bar, all were captured in Pavil’s carefully balanced compositions, many of which show the distinct influence of Degas and Renoir. Pavil exhibited at the Salon des Artists Français, Salon des Indépendants, and the Salon d’Automne. He exhibited at Galerie Charpentier, Galerie Georges Petit, and Galerie Bernheim Jeune. Claude Monet described Pavil’s paintings as “little marvels”. He was awarded Chevailier de la l’Légion d’Honneur. Pavil also counted Pissaro among his friends. Pavil continued painting with the same passion until the end of his days. (+) This lot is under temporary importation and is subject to import tax (EU).

Uitert (Evert van, et al). Vincent van Gogh, 2 volumes, Milan: Arnoldo Mondadori Arte, 1990, numerous colour & monochrome illustrations, original cloth in dust jackets & slipcase, minor rubbing to head & foot of the covers, large 4to, together with; Ganz (James A. & Richard Kendall), The Unknown Monet, pastels and drawings, 1st edition, New Haven: Yale University Press, 2007, numerous colour & monochrome illustrations, original cloth in dust jacket, spine lightly rubbed to head &foot, large 4to, and Paulson (Ronald), Hogarth: His Life, Art, and Times, 2 volumes, 1st edition, New Haven: Yale University Press, 1971, numerous colour & monochrome illustrations, publishers original uniform blue cloth, large 8vo, plus other Impressionism & British art reference & related, including Degas at the Races, by Jean Sutherland Boggs, 1st edition, New Haven: Yale University Press, 1998, 4to, Herbert Draper 1863-1920, by Simon Toll, st edition, London: Antique Collectors' Club, 2003, 4to, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQty: (3 shelves & a carton)

Picasso, Pablo -- Portrait de famille, homme aux bras croisésLithographie auf Arches-Velin. 1962.52 x 66,5 cm (56 x 75,7 cm).Bloch 1029, Mourlot 383, Güse/Rau 749.Insgesamt sechs lithographische Varianten dieses Motivs entstanden im Juni/Juli 1962 (Güse/Rau 748-753), auf der Grundlage des Erzählbandes "La Famille Cardinal" von Ludovic Halévy, erschienen 1939 mit Illustrationen von Edgar Degas. Zudem schuf Picasso Linolschnitte und bemalte Keramikplatten zu demselben Motiv. Die Werkreihe, in der der Künstler immer wieder seine Lithographien mit Pastell überarbeitete und zu neuen Varianten weiterentwickelte, wurde auch als "Ateliergeheimnisse von Degas" bezeichnet, der ebenso wie Picasso seine illustrativen Monotypien mit Pastell ergänzte. Güse/Rau notieren eine Auflage von 50 numerierten und signierten Exemplaren, dazu außerhalb dieser Auflage einige Abzüge für den Künstler. Ausgezeichneter Druck mit dem vollen Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Art to include David Hockney by David Hockney, Gordon Smith "Mervyn Peake", Sue Rowe "Gwen John", Thames & Hudson Art History, many volumes, Degas, Gaugin, etc (1 box and volumes) BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID

After Degas coloured landscape print

Bronze Edgard Degas portrait of the lost wax artistSizes: H=310mm L=125mmWeight (K): 3,84kgCondition: at first glance - good condition - no restoration - no repair

TWENTY ILLUSTRATED ART BOOKScontaining prints of the artists Manet, Bosch, Picaso, Toulouse-Lautrec, Utrillo, Dufy, Degas, Titian, Bruegel, Cezanne, Goya, Van Gogh, Rembrandt, Gaugin and others (20)

A collection of 18 art books, artists mainly French and associated with Impressionism, Realism, Modern Art, including Edgar Degas, Georges Seurat, Jean-Baptiste-Camille Corot, Jean Francois-Millet, Henri Toulouse-Lautrec, Edouard Manet, Jean-Baptiste-Simeon Chardin etc, titles include Adams: 'The Barbizon School & the Origins of Impressionism, 1997, original wraps; Galassi: 'Corot in Italy', 1991, orig. cloth, dust wrapper, slipcase, plus one other Corot; Kendall: 'Degas by himself', 1988, in wrapper, 'Degas to Matisse. Impressionist and Modernist Masterworks', 2000, in wrapper, plus three others Degas; 'Chardin', Royal Academy of Arts, 2000, in wrapper; Thomson: 'Seurat', 1985, 1st edition, orig. wraps, plus two others Seurat, etc etc. 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.

Edgar Degas (1834-1917) nach, 'Petite danseuse de quatorze ans', (Kleine Tänzerin von 14 Jahren), Bronze, dunkel patiniert, auf einer rechteckigen Plinthe stehende junge Ballerina, ihre Hände hinter dem Rücken faltend. Posthumer Guss. Die 1880 ursprünglich in Wachs modellierte, mit echtem Tutu und Tanzschuhen bekleidete, naturgetreu bemalte 'Kleine Tänzerin' ist das einzige plastische Werk Degas', das er zu Lebzeiten zeigte - 1881 auf der Impressionisten-Ausstellung. Im Stand bez. 'Degas', Guss des späten 20. Jh., auf Marmorplinthe, Ges.-H. 38 cm

Georges Jeanniot - Benjamin Constant. Adolphe. Anecdote trouvée dans les papiers d’un inconnu. Cinquante eaux-fortes par G. Jeanniot. Paris, G. Jeanniot 1902. Mit 54 [!] Radierungen, davon elf auf Tafeln. Olivgrüner Maroquinband (signiert: René Kieffer). Mit vergoldeten Fileten und intarsierten Blattornamenten, Rückentitel, Innenkantenbordüren und Kopfschnitt vergoldet. Im Schuber mit Lederkanten.Eins von 100 Exemplaren auf Velin d’Arches mit Wasserzeichen »Adolph« (Gesamtauflage 151), getrüffelt mit einer kolorierten und signierten Bleistiftzeichnung. - Der autobiographisch geprägte Roman von Benjamin Constant (1767-1830, eigentlich Henri-Benjamin Constant de Rebecque) erschien bereits 1816/17. Der Autor bestritt allerdings die seinerzeit verbreitete Auffassung, der Roman spiegele seine Beziehungen zu Madame de Staël und Charlotte von Hardenberg. - Mit einem Vorwort von Paul Hervieu. - Pierre-Georges Jeanniot (1848-1934), der hier auch als Verleger fungierte, kam 1899 durch die »Société nationale des beaux-arts« in Kontakt zu Édouard Manet, Edgar Degas u. a. In den Folgejahren illustrierte er zahlreiche Werke der französischen Nationalliteratur. - Im Auflagenvermerk vom Künstler-Verleger signiert. - Die erste Radierung mit einer faksimilierten Textzeile des Autors. - Der Einband des berühmten Relieurs René Kieffer in zurückhaltender Farbigkeit, die Deckel jedoch durch vergoldete Fileten gegliedert und mit Ahornblattdekoren verziert. Die breiten Innenkanten, die Seidenspiegel umrahmen, mit doppelter Goldfilete mit Eckfleurons. - Sehr schönes Exemplar.27 : 21,3 cm. [12], IX, [1], 167, [7] Seiten, 11 Radierungen. - Rücken leicht und gleichmäßig verfärbt.Monod 3089. - Carteret IV, 122: »Un des meilleurs livres de Jeanniot. Belle publication, très cotée«

After Degas, coloured etching/aquatint, ballerina, plate 10.5" x 7", unframedSlight paper discolouration

Edgar Degas, Ballerinasich dehnendes Mädchen im Tutu, wohl Farbheliogravure mit Tonplatte, Anfang 20. Jh., links unten im Druck signiert "Degas" und unter der Darstellung links in Blei nummeriert "169/305", gegilbt, unter Passepartout freigestellt hinter Glas gerahmt, Darstellungsmaße ca. 26 x 20,3 cm, Blattmaße ca. 32,3 x 25 cm. Künstlerinfo: eigentl. Hilaire Germain Edgar de Gas, bedeut. frz. Maler, Zeichner, Graphiker und Bildhauer (1834 Paris bis 1917 Paris), temporäres Jurastudium und 1855 kurzzeitiges Studium an der École des Beaux-Arts, anschließend als Autodidakt tätig, Bekanntschaft mit Édouard Manet, 1856-1959 Italienreise, 1865 Ausstellung im Pariser Salon, Kontakt zu Émile Zola, Pierre-Auguste Renoir und Paul Cézanne, 1870-71 Dienst im Deutsch-Französischen Krieg, 1872-73 Reise nach New Orleans, Förderung durch den Kunsthändler Paul Durand-Ruel, 1974-86 Mitorganisation einer Reihe von Impressionistenausstellungen, in den 1890er Jahren Beschäftigung mit der Fotografie, allmählicher Verlust der Sehkraft, um 1908 entstanden seine letzten Pastelle, jedoch weiterhin Beschäftigung mit der Plastik, Quelle: Thieme-Becker und Wikipedia.

Two John King Limited edition horse racing signed prints and a Degas print, largest 57cm x 73cm, all in generally good condition

Edgar Degas (1834 Paris - 1917 ebenda) nach"Petite danseuse de quatorze ans" (Kleine Tänzerin von vierzehn Jahren). OriginaltitelBronze, dunkelbraun und grün patiniert. Künstler-Bez.; Posthumer, zeitgenössischer Guss, Ende 20. Jh./Anfang 21. Jh.; Auf einer rechteckigen Plinthe stehende junge Ballerina, ihre Hände hinter dem Rücken faltend. Die "Kleine Tänzerin" ist die einzige Plastik, die Degas zu Lebzeiten zeigte - 1881 auf der Impressionisten-Ausstellung. Frühe Güsse von 1922 befinden sich im Musée d'Orsay in Paris und Metropolitan Museum in New York. H. 92 cm.After Edgar Degas (1834 - 1917). Dark brown and green patinated bronze. Inscribed. Posthumous contemporary cast, late 20th/early 21st century.

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)

A group of five Degas related art reference books to include Degas published Metropolitan museum of arts. Degas by himself edited by Richard Kendall,  Edgar Degas, the painter as print maker, Degas - The Nudes and Degas by Ian Dunlop

Art related books, Post Impressionism etc., A Day in the Country, Impressionism and the French Landscape, Degas to Matisse, The Maurice Wertheim Collection, other art books, Giotto, etc., (9).

Two John King Limited edition horse racing signed prints and a Degas print, largest 57cm x 73cm, all in generally good condition

Lalique Degas Ballerina powder bowl, produced for The Lalique Society of America in 1989, diameter 7 x 7.5 cm.

Tom Keating (1917-1984) After Degas, dance rehearsal Signed, oil on canvas, 91cm by 122cm Provenance Christie's Sale 12-12-1983, lot 69, sold for £2800 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Some light surface dirt and discoloured varnish. Medium/large sized area of craquelure to the left of the grey within the archway and some to the right within the yellowy colour. A section to the upper left within the peach to the left of the dancer, within the grey area above the artist. Brush bristles trapped within the varnish, especially above the main dancer within the peach pigment.

Shaun Greenhalgh After Edgar Degas. "Ballet Rehearsal" Pastel of ballerinas. Another first for Shaun, the attention to detail in this picture is unbelievable. We recently did a social media experiment putting this piece and a "original" Degas side by side. 75% said Shaun's work was the original. Exceptional work 63x93cm (Shaun's work is sold without reserve)

Shaun Greenhalgh After Edgar Degas. "Break time" Pastel of ballerinas. Another first for Shaun, the attention to detail in this picture is unbelievable. We recently did a social media experiment putting this piece and a "original" Degas side by side. 80% said Shaun's work was the original. Exceptional work 63x84cm (Shaun's work is sold without reserve)

NO RESERVE Photography.- Hambourg (Maria Morris) & Mia Fineman. Richard Avedon Portraits, New York, 2002 § Brunet (F.) & others. Images of the West: Survey Photography in French Collections 1860-1880, Giverny, 2007 § Daniel (M.) Edgar Degas, Photographer, New York, 1997 § Beyfus (D.) & others. Photographs by Snowdon: a Retrospective, 2000 § Carolin (Clare) Sam Taylor Wood, 2002 § Clair (Jean) Henri Cartier-Bresson: Europeans, 1998 § Sayag (A.) & Annick Lionel-Marie. Brassaï: 'No Ordinary Eyes', 2000, illustrations, some colour, the last two original wrappers, the rest original cloth or boards, the first with slip-case, some with dust-jackets; and c.10 others on photography, 4to & 8vo (c.15)

EDGAR DEGAS (nach)Paris 1834 - 1917 "Petite danseuse de quatorze ans" (Kleine Tänzerin von 14 Jahren). Bronze, dunkel patiniert. Auf der Plinthe bez.: "Reproduction Bronze". H.14cm (After) EDGAR DEGAS 1834 - Paris - 1917 Petite danseuse de quatorze ans (original title).A small 14-year-old dancer. Bronze, dark patinated. Inscribed on the plinth: Reproduction Bronze. 14 cm high. Keywords: France, French, Francais, sculptures, plastic art, artworks, figures, figurines

FOLIO SOCIETY; A collection of nine books comprising; GOETHE (J) FAUST; CEZANNE BY HIMSELF; THE QUEEN OF HEAVEN; DEGAS BY HIMSELF; VINCENT BY HIMSELF; DANIELL (T, S &W), AN ILLUSTRATED JOURNEY AROUND THE WORLD; DANIELL (W), A VOYAGE ROUND THE COAST OF GREAT BRITAIN; MILTON (J), PARADISE LOST, illustrated by John Wain; HIBBERT (C). CITIES AND CIVILISATIONS (9).Additional InformationFootnote: This lot forms part of The Library of a Cheshire Gentleman collection, see lot 2317for more details.

Guérin, Marcel. Lettres de Degas recueillies et annotées. X, 250 S., 2 Bl. Mit 2 Faksimiles. 18,5 x 11 cm. Dunkelgrünes Maroquin d. Z. (Rücken etwas ausgeblichen und leicht berieben; signiert und datiert "Frieda Thiersch 1931") mit goldgeprägtem RTitel sowie Steh- und Innenkantenvergoldung mit Kopfgoldschnitt in dunkelgrünem Halbmaroquin-Schuber d. Z. (gering bestoßen). Paris, Bernard Grasset, (1931).17. Heft der Reihe "Les cahiers verts". Eines von 170 nummerierten Exemplaren auf "Vélin pur fil La fuma" der Vorzugsausgabe (Gesamtauflage: 3894). Mit einem Vorwort von Daniel Halévy. Den Einband gestaltete Frieda Thiersch (1889-1947), die vor allem für ihre bemerkenswerte Arbeit als Leiterin der Bremer Presse Bekanntheit erlangte. Aus dieser Zeit stammt auch dieser, auf 1931 datierte Einband. - Bemerkenswert guter und nahezu einwandfreier Zustand. - Dabei: Paul Valéry. Erinnerungen an Degas. Übertragen von Werner Zemp. 192 S. Mit 8 montierten Abbildungen. 19,5 x 11,5 cm. Rotes Maroquin d. Z. (Rücken minimal berieben) mit goldgeprägtem Rücken-und Vorderdeckeltitel, goldgeprägten Deckelfileten, breiten Innenkanten mit dreifacher Filetenvergoldung sowie Kopfgoldschnitt (OVorderumschlag eingebunden) in Halbmaroquin-Schuber. Zürich, Fretz & Wasmuth, (1940). - Ähnlich erhalten.

Legrand, Louis. - Cours de Danse. Fin de Siècle. 2 Bl., 59 S., 2 Bl. Titel in Rot und Schwarz. Mit 11 Original-Radierungen (inkl. Frontispiz und auf dem OUmschlag) sowie zahlreichen farbigen Initialen, Kopf-Vignetten und cul-de-lampes von Louis Legrand. 27,5 x 18 cm. Späteres rotes Halbmaroquin mit Buntpapierbezug (OUmschlag eingebunden, dieser leicht gebräunt) mit goldgeprägtem RTitel und KGoldschnitt. Paris, E. Dentu, 1892.Carteret IV, 331 (unter dem Autor Ramiro). "Belle publication cotée." Monod I, 3216. Vicaire II, 1053. - Eines von 300 nummerierten Exemplaren auf Vélin (Gesamtauflage: 350). "No more than with Degas is there anything titilating about the dancer's pose; indeed, Legrand seems to have selected their most difficult positions ..." (Ray II, 448, mit Abb.). - Wohlerhalten.

Extensive collection of posters and prints of British History and Paintings, Monthy Python, museum exhibition posters, and educational posters, to include Sir Thomas More and his Descendants, H.M.S. Victory, Florence Nightingale, limited edition historical map of Combs & Battisford, Degas, and others (qty)

Large bronze ballerina on black marble base. Signed Degas (after). 21st century. Dimensions: H 67 cm. In good condition.

Giuseppe de Nittis (Italian, 1846-1884)Westminster Bridge indistinctly signed 'De Nittis' (lower right); stamped with the Atelier stamp (twice, on the reverse)oil on panel19 x 25cm (7 1/2 x 9 13/16in).Footnotes:ProvenanceA. Sommaruga, Paris.Private collection, Milan.Anon. sale, Finarte, Milan, 26 March 1996, lot 124.Private collection, Italy.ExhibitedNaples, Società Promotrice Salvator Rosa, Mostra di Giuseppe De Nittis e dei Pittori della Scuola di Resina, 1963, no. 83. LiteratureMary Pittaluga & Enrico Piceni, De Nittis, Milan, 1963, cat. no. 461, illustrated.Enrico Piceni, De Nittis. L'uomo e l'opera , Busto Arsizio, 1979, no. 55.Piero Dini and Giuseppe Luigi Marini, De Nittis, Turin, 1990, vol. I, p. 405, no. 712, as Westminster Bridge, illustrated.Giuseppe de Nittis made several trips to London between the early 1870s and 1881, which resulted in some of his most celebrated works. A founding member of The Macchiaioli, the artist had moved to Paris in 1867, and the following year began to work for the dealer Adolphe Goupil, producing costume pictures which the dealer could place easily. After a brief return to Italy in 1872, de Nittis travelled back to Paris and became part of an artistic and literary circle that included Emile Zola and Édouard Manet; but it was Edgar Degas who invited him to participate in the Impressionist Exhibition at the Nadar Gallery in 1874. The following year, de Nittis broke his contract with Goupil and journeyed back to London. The foggy bustle of the metropolis perfectly suited his personal form of Impressionism; often painting en plein air, he painted several views of Westminster Bridge (which were greatly admired by Vincent van Gogh) and other London landmarks, such as The Serpentine and Trafalgar Square.In the present lot, Westminster Bridge is depicted on a busy day with The Houses of Parliament outlined in the distance. Typical of many of the works by de Nittis the foreground is left empty, which emphasises the bustle of the figures and carriages as they head to and from the city. This movement is further suggested by the strong linear brushstrokes which show the tracks of the horse drawn carriages and draws the viewer in to the centre of the composition, highlighted by a small dot of red paint. Although small, this exquisite panel articulates so much about the artist, who sadly died at the age of only 38. It conveys his brilliant ability to capture and record a scene sympathetically but with great bravura. Although clearly an 'Impressionist' de Nittis stands out as an artist with a very personal and unique style.For further information on this lot please visit Bonhams.com

NINE LARGE BOOKS CONTAINING THE WORKS OF INDIVIDUAL ARTISTS TO INCLUDE DEGAS, VAN GOGH ETC

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 x 16,5 cm). Gerahmt.Delteil 29; Adhémar 54 wohl 21 von 21. - Schöner Druck mit Rand um die Plattenkante. Von der Rückseite umlaufend mit Montageband in den Passepartoutauschnitt montiert. Sehr guter Erhaltungszustand. EDGAR DEGAS(1834 Paris 1917)Au Louvre: la peinture (Mary Cassatt). Circa 1879/80.Aquatint etching on cream-coloured velin.30.5 x 12.7 cm (sheet size: 32 x 16.5 cm). Framed.Delteil 29; Adhémar 54 probably 21 of 21. - Fine impression with margin around the platemark. Mounted in the mat cut-out with mounting tape all around on the reverse. Very good condition.

AUGUSTE RODIN (1840-1917)Mouvement de danse, étude type G signed and numbered 'A. Rodin, No. 11' (on the sole of the raised foot), inscribed '© by Musée Rodin 1959.' (on the figure's right arm) and further inscribed with the foundry mark 'Georges Rudier Fondeur. Paris.' (on the sole of the lower foot)bronze with a brown patina33.7 cm (13 1/4 in). highConceived circa 1911, this bronze version cast in 1959 by the Georges Rudier foundry in a numbered edition of 13, numbered 0-12.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'œuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Monsieur Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Roland, Browse & Delbanco Gallery, London (acquired from the above in October 1959).Lucia Moreira Salles Collection; her sale, Sotheby's, New York, 5 November 2009, lot 104.Private collection, UK (acquired at the above sale).LiteratureR. Descharnes & J-F. Chabrun, Auguste Rodin, London, 1967 (plaster version illustrated pp. 248 & 251).I. Jianou & C. Goldscheider, Rodin, Paris, 1967, fig. 79 (another cast illustrated; dated 1910).Exh. cat., Rodin, Sculpture and Drawings, London, 1970 (another cast illustrated p. 91).J. Miller & G. Marotta, Rodin, The B. Gerald Cantor Collection, New York, 1986 (another cast illustrated p. 122).T. Marlow, Rodin, London, 2001 (another cast illustrated p. 103).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of Works in the Musée Rodin, Vol. II, Paris, 2007, S.506 (another cast illustrated p. 538).Exh. cat., Matisse & Rodin, Paris, 2009, no. 207 (another cast illustrated p. 121).The present work is part of a series of nine sculptures titled Mouvements de danse. In the latter part of his career Rodin took a particular interest in dance but, unlike his colleagues Edgar Degas and Henri de Toulouse Lautrec, he was inspired by a new generation of dancers who propelled ballet into the era of modernism. Dancers such as Loie Fuller and Vaslav Nijinsky left the perfected style of ballet behind and substituted it with a new narrative of free flowing and unusual movements. These new trends in performing arts required a new sculptural form whereby traditional ballet poses were largely ignored. In Mouvement de danse, étude type G Rodin captured the body of the dancer in an unconventional position. The figure is standing on the tip of their toes with a slightly bended leg, whilst the other leg leaps into the air. Similar to a cancan dancer, the torso twists towards the upper leg, with arms raised overhead, the palm of their hands facing upwards. The unusual stance of the figure suggests that Rodin tried to capture the overall essence of the dance rather than a specific pose. The Mouvement de danse statuettes were conceived between 1910-1919, when Rodin was at the height of his career. In more recent years, the series has received institutional attention. In 2016, a major retrospective dedicated to these sculptures was held at the Courtauld Gallery, which later travelled to the Musée Rodin. The plaster versions of the works are part of the collection of the Musée Rodin, and all bronze versions were cast posthumously by the museum.For further information on this lot please visit Bonhams.com

Art and artist reference books - Degas, Manet, Michelangelo, Arthur Rackham etc. (30)

* Belleroche (Albert de, 1864-1944). Portrait of Alice Milbank, the artist's mother, oil on canvas, head and shoulders portrait of a woman wearing a low cut gown and with her brown hair piled up on her head, some small surface scratches and consequent minor losses, 64 x 47.8cm (25.25 x 18.75ins)Qty: (1)NOTESProvenance: Estate of William de Belleroche (1913-1969), son of the artist; estate of William's partner Gordon ‘Andy’ Anderson. Celebrated socialite Alice Sidonie Milbank Vandenburg née Baruch (circa 1840-1916) was said to be blessed with beauty "almost legendary". Her first marriage, to Edmund Charles, Marquis de Belleroche, was an unhappy one, although it produced a son, artist Albert Gustave de Belleroche. In 1871 she married Harry Vane Milbank, a celebrated duellist, huntsman and adventurer as well as an inveterate gambler. The family moved to Paris, where they entertained on a lavish scale, noted personalities such as Oscar Wilde, Edward VII, and John Singer Sargent frequenting their soirées. In fact the latter became a lifelong friend of Albert de Belleroche, the two artists going on to share studios in Paris and London, and each showing influences of the other in their work. In Paris Belleroche was a founder member of the Salon d'Automne, where he exhibited alongside the Impressionists and associated with the likes of Emile Zola, Albert Moore, Renoir, Degas, and Toulouse-Lautrec. Artist and printmaker William de Belleroche was greatly influenced by Frank Brangwyn, and he and his partner Gordon ‘Andy’ Anderson maintained a large circle of friends, many of them well-known artists, authors, actors and personalities of the post-war era, for example Duncan Grant, Augustus John, Dirk Bogarde, Judy Garland, and the Oliviers, to name but a few.

After Degas (1834 - 1917), 'Reclining Nude' print, initialled ML lower right, image 92.5cm x 60cm

AN EARLY CARVED FRAME WITH MIRROR PLATE the frame with plaque inscribed Degas, 50 x 45cm overall, mirror plate, 37 x 30cm Condition Report: Available upon request

Große Bronze-Plastik nach Edgar Degas (1834-1917), Tänzerin die Sohle des rechten Fußes betrachtend. Grau-Schwarz patinierte Bronze, im Stand bez. "Degas", H. 96 cm

NINE LARGE BOOKS CONTAINING THE WORKS OF INDIVIDUAL ARTISTS TO INCLUDE DEGAS, VAN GOGH ETC

A LARGE QUANTITY OF PICTURES, PRINTS AND TAPESTRIES IN FIVE BOXES AND LOOSE, including a monochrome painted silk picture of deer, an unframed G. Jennings river landscape, oil on canvas, torn, assorted prints of impressionists works including Monet and Degas, facsimile maps, oil on board signed Greaves of a landscape, etc, (5 boxes and loose)

EDGAR DEGAS, La Toilette circa 1890, print, framed and glazed. 33 x 23 cm.

After Edgar Degas, (1834-1917), La Petite Danseuse de Quatorze Ans, bronze figure modelled as a young female dancer, signed and with foundry mark, raised upon a rectangular base, overall H37.5cm. Click here to view further images, condition reports, sale times & delivery costs for this lot.

EDGAR DEGAS 1834 Paris - 1917 ebenda DANSEUSE METTANT SON CHAUSSON (ca. 1892) Radierung auf chamoisfarbenem Papier. BM 32,5 x 24,5 cm, DM 17,5 x 11,5 cm (R. 38 x 29,5. Leicht gebräunt, min. fleckig, Randbesch. Posthumer Druck. 2. Zustand (von 2) nach der rayierten Platte. Aus einer Auflage von ca. 150 Exemplaren. Herausgegeben von Ambroise Vollard, Paris, 1918. Hinter Glas gerahmt (ungeöffnet). Literatur: Delteil 36; Adhémar 60. EDGAR DEGAS 1834 Paris - 1917 ibidem DANSEUSE METTANT SON CHAUSSON (ca. 1892) Etching on paper. Sheet size 32,5 x 24,5 cm, print size 17,5 x 11,5 cm (f. 38 x 29,5 cm). Min. brownish, min. spotty, damaged at the margins. Posthumous print. 2nd state (of 2) after the cancelled plate. From an edition of ca. 150 copies. Published by Ambroise Vollard, Paris, 1918. Framed behind glass (not opened). Literature: Delteil 36; Adhémar 60.

GEORGE KARS (Czech, 1882-1945)Nude signed 'Kars' (lower left)oil on canvas50 x 65cm (19 11/16 x 25 9/16in).Painted c. 1927Footnotes:ProvenanceCollection Paquereau, Paris, 1927.ExhibitedJewish Artists of the School of Paris, Artcurial Vienna - Artcurial Brussels - Artcurial Paris, 2015.Granville, Museum of Modern Art Richard Anacréon, 2016.LiteratureGeorges Kars. 1880-1945, catalogue Galerie Jean Tiroche, Jaffa, 29th April - 15th May 1967, p. 3.Jewish Artists of the School of Paris 1905-1939, Somogy Éditions d'Art, Paris 2015, p. 172.Brigitte Richart, catalogue Belles de Nuit, Museum of Modern Art Richard Anacréon Edition, Granville, 2016, p. 68.This work will be included in the artist's catalogue raisonné.Georges Kars was born to a German Jewish family in the Prague region. In 1899, he studied in Munich with Franz von Stuck and became friends with Pascin and Paul Klee. From 1905, he travelled to Madrid where he met Juan Gris and immersed himself in the paintings of Veslasquez and Goya. In 1908, he moved to Paris and met Chagall, Apollinaire, Max Jacob, Maurice Raynal and Demetrius Galanis. During World War I, he stayed in Belgium with Pascin. Under the influence of the Cubism movement in Paris, his shapes became simpler; however, he remained deeply attached to realism. According to him, 'art does not lie in an elaborate technique but within the soul'. He produced figurative paintings and used several techniques and materials including Indian ink, watercolor, and pastels.During World War II, he took refuge in Lyon and went later into exile in Switzerland. In 1945, as he could not stand the horrifying tragedy that hit the Jewish community, he committed suicide by jumping out of the fifth floor of his hotel. His studio was sold at auction on June 17, 1966 at the Palais Galliera. In 1983, a retrospective of 120 paintings was held at the modern art museum in Troyes.In Nude, the atmosphere and treatment of the subject is reminiscent of the work of Edgar Degas, Henri de Toulouse-Lautrec and Suzanne Valadon. Transcription of the preface by Valadon published in the catalogue of Kars exhibition at the Galerie B. Weill, Comoedia, February 6, 1931, (p. 3) : « Mon cher Kars, J'ai présent à la mémoire ce que je viens de voir dans votre atelier et que vous allez exposer chez Berthe Weill. Écrire n'est pas mon fait ; j'exprime mal l'émotion admirative que j'ai eue devant vos œuvres ». ('My dear Kars, the work that I witnessed in your studio and that you will exhibit at Berthe Weill is still fresh in my memory. Writing is not my thing; I cannot express enough my admiration for your works').For further information on this lot please visit Bonhams.com

JULES PASCIN (Bulgarian, 1885-1930)La Figurante du Palace signed 'Pascin' (upper right)oil on board mounted on canvas 65 x 54cm (25 9/16 x 21 1/4in).Painted in Paris in 1927Footnotes:ProvenanceProf. Philippe Dahan Collection.LiteratureY. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. I, Paris, 1984, no. 587 (illustrated p. 300).Jules Pascin, born Jules Pinkas, was only a teenager when he decided to leave his parents to study painting and travel the world. The owner of a brothel in Bucharest triggered his taste for painting. She encouraged him to draw, introduced him to the art of Toulouse-Lautrec and Degas, and advised him to leave for Paris. However, Pascin, went to Vienna to attend a painting academy where he met George Grosz. A year after, he moved to Munich to work as a cartoonist and decided to change his name to 'Pascin'. When Pascin arrived in Paris in 1905, he was welcomed by the 'Dômiers' (regular customers of Le Dôme café): Rudolf Lévy, Walter Bondy and art dealer Henri Bing. The latter one, introduced him to Hermine David, who later became his wife. In 1908 he enrolled in the Matisse Academy where he met Lucy Krohg, who was then a model at the academy and with whom he started an affair. During his time in Montparnasse, Pascin was known for his generous parties, but nevertheless remained fully dedicated to his artistic ambitions.During World War I, Jules and Hermine went to the United States where he produced a series of watercolours and maintained an epistolary relationship with Lucy. Back in Paris in 1920, he continued his painting with specific interest in the female form and women like Kiki, Aicha, Jacqueline Godar, Zniah Pichard, the Perlmutter sisters, Julie Luce, Hermine and Lucy.Between 1920 and 1930, Pascin travelled in North Africa, Europe and the United States. In 1927, German art dealer Flechtheim organized an exhibition in Düsseldorf and asked Pascin for his portrait by commission. In the meantime, the artist signed a contract with the Bernheim-Jeune gallery that endorsed and motivated him to realise his famous 'pearly' nudes.Suffering from depression and alcoolism, he commited suicide at the aged of 45. In June 1930, art galleries in Paris closed as a sign of mourning while over a thousand people followed the cortege to the Montparnasse cemetery. Following his death, Hermine and Lucy supported each other in their grief and remained closely tied.La Figurante du Palace, executed in 1927, is a great example of Pascin's 'nacré' or 'pearly period', after the pearly sheen that characterised his painting during this time.For further information on this lot please visit Bonhams.com

JULES PASCIN (1885-1930)Les Provinciales oil on board mounted on canvas46 x 38cm (18 1/8 x 14 15/16in).Painted in 1913Footnotes:ProvenanceAnon. sale, Sotheby's, London, 1972, lot 62.Anon. sale, Sotheby's, New York, 1974, lot 67.Acquired at the above sale by the previous owner; their sale, Cornette de Saint Cyr, Paris, 28 June 2016, lot 27.Acquired at the above sale by the present owner.LiteratureY. Hemin, G. Krohg, K. Perls & A. Rambert, Pascin, catalogue raisonné, peintures, aquarelles, pastels, dessins, Vol. II, Paris, 1984, no. 263 (illustrated p. 78).Jules Pascin, born Jules Pinkas, was only a teenager when he decided to leave his parents to study painting and travel the world. The owner of a brothel in Bucharest triggered his taste for painting. She encouraged him to draw, introduced him to the art of Toulouse-Lautrec and Degas, and advised him to leave for Paris. However, Pascin, went to Vienna to attend a painting academy where he met George Grosz. A year after, he moved to Munich to work as a cartoonist and decided to change his name to 'Pascin'. When Pascin arrived in Paris in 1905, he was welcomed by the 'Dômiers' (regular customers of Le Dôme café): Rudolf Lévy, Walter Bondy and art dealer Henri Bing. The latter one, introduced him to Hermine David, who later became his wife. In 1908 he enrolled in the Matisse Academy where he met Lucy Krohg, who was then a model at the academy and with whom he started an affair. During his time in Montparnasse, Pascin was known for his generous parties, but nevertheless remained fully dedicated to his artistic ambitions.During World War I, Jules and Hermine went to the United States where he produced a series of watercolours and maintained an epistolary relationship with Lucy. Back in Paris in 1920, he continued his painting with specific interest in the female form and women like Kiki, Aicha, Jacqueline Godar, Zniah Pichard, the Perlmutter sisters, Julie Luce, Hermine and Lucy.Between 1920 and 1930, Pascin travelled in North Africa, Europe and the United States. In 1927, German art dealer Flechtheim organized an exhibition in Düsseldorf and asked Pascin for his portrait by commission. In the meantime, the artist signed a contract with the Bernheim-Jeune gallery that endorsed and motivated him to realise his famous 'pearly' nudes.Suffering from depression and alcoolism, he commited suicide at the aged of 45. In June 1930, art galleries in Paris closed as a sign of mourning while over a thousand people followed the cortege to the Montparnasse cemetery. Following his death, Hermine and Lucy supported each other in their grief and remained closely tied.Les Provinciales dates from the beginning of his lifelong love affair with Lucy in his early Parisian years. Pascin, who was a man of deep passions, divided his time between Lucy and his wife Hermine, and this painting shows the sensuality and power of his nature and his art.For further information on this lot please visit Bonhams.com

NINE LARGE BOOKS CONTAINING THE WORKS OF INDIVIDUAL ARTISTS TO INCLUDE DEGAS, VAN GOGH ETC

ASSORTED PRINTS AND PICTURE FRAMES, ETC, to include 19th century engraving prints by George Morland, Jules Dupre, etc, topographical engravings of Venice, indistinct signatures, Trevor Hodgkinson and Sue Cooper aquatint etchings, Degas - Tate Gallery poster with assorted prints and frames

DEGAS, EDGAR (1834-1917), Bronze: "Petite danseuse de quatorze ans" (Originaltitel; "Kleine Tänzerin von vierzehn Jahren"), Bronze auf Marmorpostament. Auf einem querrechteckigem Postament stehendes Mädchen mit hinter dem Rücken verschränkten Händen; der rechte Fuß ist seitlich vorgestellt, der Kopf leicht nach hinten geneigt und die Augen sind nahezu geschlossen. Posthumer Guss / Reduktionskopie nach der ursprünglich in Wachs gefertigten und naturalistisch bemalten Tänzerin, die Degas als einzige seiner plastischen Arbeiten zu Lebzeiten ausstellte; hellbraune Patina mit goldfarbenen Akzentuierungen. Auf der Plinthe vertiefte Künstlerbezeichnung und Gießeremblem (bez. "J. B. Deposee - Bronze Garanti - Paris"). H. 38,5 cm.

A collection of various prints, to include "Herge Les Aventures de Tintin - Tintin au Congo", two EDWARD BURNE JONES prints "The Three Graces" and "The Briar Rose Study for the Garden Court", a reproduction poster "Nurburgring", "Germany 1936 IV Olympic Winter Games" (reproduction), tin sign "KDF-Wagen-Volkswagen Werk", two colour prints AFTER AUGUSTE RODIN and another AFTER DEGAS (nine total)

A Collection of Eight Various French Prints After Degas, Lautrec, Corot etc Mainly 10x8cm

Aimé-Jules Dalou, (French, 1838-1902): A bronze figure of 'Baigneuse Avant Le Bain (Bather before the bath)'posthumously cast by the Susse Frères foundryon naturalistic canted rectangular base, signed DALOU Scp and inscribed with foundry mark Susse Frères, Paris, Cire Perdue, brown patination, 14.5cm high approximatelyFootnotes:Recognised today as one of the premier sculptors of 19th century France, Aimé-Jules Dalou was admired for his perceptiveness, free execution, and unpretentious realism and was in his day revered in exactly the same manner as his friend and contemporary Rodin would subsequently be to later generations.Dalou's talent was initially recognised by the French sculptor Jean Baptiste Carpeaux who persuaded his parents to allow him to study sculpture at the Petite Ecole and the Ecole des Beaux Arts. Although the sculptor exhibited at the Paris Salon as early as 1861 he was refused the prestigious Prix de Rome which would have done much to further his career due to his political leanings and his opposition to the government during the Second Empire period. However, his sculpture of 'Daphinis and Chloe' was subsequently purchased by the State after it was shown at the Salon in 1869 and he also won worldwide acclaim with his life-size plaster figure of the 'Embroiderer' at the Salon in 1870 both of which exemplify his interest in the female form.As a result of being a supporter of the Paris Commune whilst curator of the Musee du Louvre under Gustave Courbet, he was forced into a period of self-imposed exile from France in 1871 and made his home in London where he was convicted in his absence by the French Government for his involvement with the Commune and given a life sentence although he was eventually pardoned eight years later.Like his contemporary Edgar Degas, Dalou was fascinated with the subject of the female nude and its commercial potential. As such he used his time in London to work and re-work a series of small models depicting idealised female figure in stages of undress before and after bathing. These figures retain a sensitive personal connection between the sculptor and the sitter usually with specific personalised facial features which is perhaps not surprising considering that his favourite model was also his wife, Irma Vuillier.The bather in the present lot is depicted preparing to enter the water, apparently slightly shuddering as she looks down into the stream below. This model also has an added poignancy as the plaster original which was executed by Dalou in 1899 depicts his wife a year before her death. The shock of her tragic loss was also an undoubted contributing factor to the sculptor's own demise eighteen months later.The original model was purchased from Dalou's daughter Georgette in 1905 and is now in the permanent collection of the Musée du Petit-Palais. A marble version is also thought to have been commissioned in 1899 but its whereabouts are now unknown.No commercial bronze editions of his works were apparently produced during Dalou's lifetime as these were discouraged by the sculptor. As such edition casts were not produced until the period post the sculptors death in 1902, when the executors of the sculptor allowed a number of Dalou's works to be cast in limited editions by the A. A. Hébrard foundry. Later, models were made in larger numbers and in a variety of edition sizes by the Susse Frères foundry.Related Literature:A. Simier, Jules Dalou. Le sculpteur de la République, exh. cat., Petit Palais - Musées des Beaux-Arts de la Ville de Paris, Paris, 2013, pp. 388-389, no. 315J. Hunisak, The sculptor Jules Dalou: studies in his style and imagery, New York, 1977, pp. 119-120, fig. 69For further information on this lot please visit Bonhams.com