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Henri Matisse (1869-1954), Konvolut von drei Farblithographien aus Verve 1958 u.a.: ''Zulma'', ''Lex Oiseaux bleu'', und ''Poissons chinois''. 2 x in der Vorlage sign. u. dat., hinter Pp. bis 48 x 40 cm

HENRI MATISSE 'Portrait of a young girl', signed and dated in the plate, heliogravure 1947, 20cm x 15cm, ref: Pierre a feu, vintage French frame. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Reclining nude', signed in the plate, engraving on watermarked ingres laid paper, after the original etching, 1933, 30cm x 23cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Nu Bleu IX', lithograph, after Matisse's cut outs, signed in the plate, 35cm x 25cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

AFTER HENRI MATISSE 'Red Room', on silk, 64cm x 60cm, framed and glazed.

Henri Matisse, lithograph cover for Derriere Le Miroir, 15" x 11", together with Picasso and Chagall lithograph covers, framed (3)

Louise Milhau (French, 1904-1948), Piero and Harlequin, 1935,a pair of painted plaster figures, signed and dated to underside 18.5 and 17cm highFootnote: Provenance: Julians Park, Hertfordshire The wife of Jean Matisse and daughter-in-law of Henri Matisse, Louise Matisse (nee Milhau) was a ceramic artist based in Paris in the early 20th century. Despite having been commissioned by Hermes to create a series of anthropomorphic earthenware tobacco jars in the 1920s, very few works by Milhau have been offered at auction and, consequently, examples of her work are scarce.

§ Elmyr de Hory (Hungarian 1906-1976)After Matisse, study of a woman signed 'Elmyr' (lower left) pencil 20 x 12cmFootnote: Provenance: The present lot was executed whilst the current vendor was present

Amadeo Modigliani, JünglingskopfBildnis eines jungen Mannes im Profil vor angedeuteter Architektur, Radierung mit Plattenton, Druck aus der Zeit um 1960-70, unter der Darstellung rechts Stempelsignatur "Modigliani" sowie links Signatur der Tochter des Künstlers und bezeichnet "A2/SL", weiterhin in den unteren Ecken drei Prägestempel, Blatt mit Wasserschaden und am linken Blattrand blau verfärbt, eingelegt in Mappe mit Wasserschaden, Darstellungsmaße ca. 38,5 x 30,5 cm, Blattmaße ca. 49,5 x 35 cm. Künstlerinfo: eigentl. Amadeo Clemente Modigliani, ital. Bildhauer, Zeichner und Maler (1884 Livorno bis 1920 Paris), ab 1898 Besuch einer privaten Zeichenschule in Livorno, ab 1901 in Florenz ansässig, ab 1902 Besuch der freien Aktzeichenschule in Florenz, 1906 Umzug nach Paris und unter anderem Kontakt zu Henri Matisse, 1909-14 intensive Beschäftigung mit der Bildhauerei, 1914 Bekanntschaft mit dem Kunsthändler Paul Guillaume, 1915 Anfertigung des Portraits von Pablo Picasso, 1916-17 Anfertigung einer Serie von etwa 30 Aktgemälden und Einzelausstellung in der Galerie von Berthe Weil, 1918 ging er nach Südfrankreich und Besuch bei Pierre-Auguste Renoir, 1919 Rückkehr nach Paris, Quelle: Thieme-Becker, Wikipedia und Internet.

Amedeo Modigliani, Liegender Frauenaktruhende nackte Frau, mit zum Betrachter gerichtetem Gesicht, Radierung, um 1917 (späterer Abzug), in der Platte spiegelbildlich signiert "Modigliani", unter Passepartout und hinter Glas gerahmt, Plattenmaße ca. 10 x 15 cm. Künstlerinfo: eigentl. Amadeo Clemente Modigliani, ital. Bildhauer, Zeichner und Maler (1884 Livorno bis 1920 Paris), ab 1898 Besuch einer privaten Zeichenschule in Livorno, ab 1901 in Florenz ansässig, ab 1902 Besuch der freien Aktzeichenschule in Florenz, 1906 Umzug nach Paris und unter anderem Kontakt zu Henri Matisse, 1909-14 intensive Beschäftigung mit der Bildhauerei, 1914 Bekanntschaft mit dem Kunsthändler Paul Guillaume, 1915 Anfertigung des Portraits von Pablo Picasso, 1916-17 Anfertigung einer Serie von etwa 30 Aktgemälden und Einzelausstellung in der Galerie von Berthe Weil, 1918 ging er nach Südfrankreich und Besuch bei Pierre-Auguste Renoir, 1919 Rückkehr nach Paris, Quelle: Thieme-Becker, Wikipedia und Internet.

Claude DuthuitHenri Matisse. Œuvre GravéThe complete set of two volumes of the catalogue raisonné, the edition was 5000, with title-pages, text and illustrations, each 320 x 255mm (12 5/8 x 10in) (vol) (2)

δ Henri Matisse (1869-1954)Portraits (Duthuit 33)The book, 1954, comprising one lithograph, with title-page, text, reproductions and justification, this copy stamp numbered from the edition of 2850, printed by Mourlot Frères, Paris, published by André Seuret - Éditions du Livre, Monte-Carlo, on wove paper, bound as issued in the original paper covered boards and matching slipcase, overall size 325 x 255mm (12 ½ x 10in) (vol) (2) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Henri Matisse (1869-1954)Verve Vol.IV No.13 (Duthuit Books 104)The book, 1945, with title-page, text and lithographs printed in colours, published by Éditions de la Revue Verve, on wove paper, the full sheets bound as issued in the original boards and printed paper wrappers, overall size 355 x 268mm (14 x 10 ½ in) (vol) (1)

Henri Matisse (1869-1954) The Dancer, 1949 from the School Prints European Series lithograph published by W.S. Cowell 49 x 72cm.

Winifred Nicholson (1893-1981) Castagnola, circa 1923 oil on board Verso: Kate Nicholson (1929-2019), Cumberland Landscape, circa 1950 oil on board 59 x 74 cm. Literature: Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920-1931, Philip Wilson Publishers, London, 2013, p. 15 (illustrated in colour). Winifred Nicholson and Ben Nicholson spent the first three winters of their married life in the Italian speaking part of Switzerland, near Lugano. Here, away from the London art world, and inspired by visits to Paris on their journeys to and from England where they admired works by Picasso, Rousseau, Derain, Modigliani, Van Gogh, Gaugin, Cezanne and Matisse, their experiments were 'fast and furious', as described by Ben Nicholson. They worked closely together and the depth of their creative partnership is vividly demonstrated by comparing Castagnola with Ben Nicholson's 1923 (Castagnola) (National Galleries of Scotland). For further information of their time in Lugano see The Allure of the South: the Nicholsons in Italy and Switzerland, 1920-23, Sebastiano Barassi, op. cit. pp. 8-17. Cumberland Landscape is characteristic of the early poetical landscapes by Kate Nicholson, Winifred's daughter. Although Winifred Nicholson often painted on the reverse of pictures due to a shortage of materials it is rare for her to have shared a support with her daughter, although not unknown (see for example Skye (Kettle's Yard, Cambridge) which has a portrait by Winifred on the reverse). For more Cumberland landscapes by Kate Nicholson see Kate Nicholson, Jovan Nicholson, Philip Wilson Publishers, London, 2019. We are grateful to Jovan Nicholson for his assistance in cataloguing this lot. 

(books) Henri Matisse, Jazz special edition for the Museum of Modern Art, 1983 facsimile of the 1947 edition with 20 colour plates.

(books) Henri Matisse Apologie de Luxe (Les trésors de la Peinture Française series) Albert Skira, 1946, Geneva including nine colour lithograph plates.

Decorative pictures and prints, to include pair of 19th century French watercolours, hand coloured print of the Mary Rose, limited to 500 copies, Lithograph after Matisse - Nu Couche de Dos, two 19th century hand coloured engravings, pair of watercolours by Jack Savage (1910-2003), group of unframed French works on paper

HENRI MATISSE 'Nu Bleu X', signed in the plate, original lithograph from the 1954 edition after Matisse's cut outs, renowned lithographers printed by Mourlot, 35cm x 26cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

After Henri Matisse,A poster depicting Marquise de Pompadour,4 octobre - 15 novembre 1984,Galerie Maeght Lelong, 13 rue de Teheran, Paris,85 x 49 cm

Collection of 3 lithographic prints Pablo Picasso (1881-1973) plate signed Exposition Vallauris 1955 published in 1957, Henri Matisse ( 1869-1954) Deux fillettes dans l'interiuer bleu, fenetre rouge, published by Draeger Freres, Paris, 1948, Marc Chagall (1887-1985) modernist figural lithographic print published in New York printed in West Germany 1977. All mounted but unframed, approx overall sizes 20 x 16 inches Cellophane wrapped.

* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957), IONA SHORE oil on board, signed 46.5cm x 61.5cm (approximately 18.31 x 24.21 inches) Framed and under glass. Provenance: Long term property of a private family collection in Fife, Scotland. So far as we can ascertain, "Iona Shore" has never been offered at auction. Note: John Maclauchlan Milne was encouraged by his father – the Scottish landscape painter Joseph Milne. His father’s influence is apparent in his early work, before his style was transformed by the Scottish Colourists and modern French painters, particularly Cézanne. During the First World War Maclauchlan Milne left his home in Dundee to fight in France on the Western Front. France had a strong impression on the young artist. From 1919 -1932 he spent long periods in France. Initially he stayed at rue des Quatre-Vents in Paris but by 1924 Milne was in Cassis with Peploe, Cadell and Duncan Grant. They also spent considerable time in San Tropez. Almost all his exhibits in the 1920’ s were of Mediterranean subjects. His obituarist wrote ‘ like Peploe, he saw Cézanne and was immediately conquered… Here in the Midi, Milne found himself and the impact of this new experience stamped all his subsequent work'. At the outbreak of the Second World War, Maclauchlan Milne returned to Scotland and settled at High Corrie on the Isle of Arran. Here he painted the whitewashed cottages, the little jetty below the village and Goat Fell, the highest peak on the island. He died in Arran in 1957. Maclauchlan Milne exhibited at the Royal Scottish Academy, at the Glasgow Institute and showed works in London and New York. A Centenary exhibition of his work was held at Dundee Art Gallery and Museum in 1985 and a Retrospective Exhibition was held at Portland Gallery (London) in 2010. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Maclauchlan Milne may only have visited Iona on three occasions in 1937, 1938 & 1939. On each visit he stayed at the St Columba Hotel. These are his only documented visits, but there might have been more. The majority of his Iona paintings are of, or from, the north end of the island and the view to the north of the Treshnish Isles was one he was known to have repeated with variations of the viewpoint and the angle. Undoubtedly, many of these paintings were produced in the studio and Milne was famed for his ability to make the quickest of sketches, some on the inside of a cigarette packet, and later work them up in the studio so successfully capturing the atmosphere that they gave the impression of having been painted on the spot. This talent was admired by many of his contemporaries and it also highlights Maclauchlan Milne's focus on "atmosphere" rather than exact topographical accuracy. Iona has long been the subject of prayer, prose and poetry. This historic and sacred island has also been the focus of a multitude of artists for more than two centuries. In the early to mid-twentieth century it was visited in the summers by many of Scotland's most renowned painters including the Scottish Colourists Cadell and Peploe. It was generally the case that when times were tough for artists, collectors would more readily invest in an Iona painting than any other subject.

NO RESERVE Illustration & Graphics.- Tassi (Roberto) Graham Sutherland: Tout l'Oeuvre Gravé, Paris, 1980 § Hahnloser (M.) Matisse; The Graphic Work, New York, 1987 § Burne-Jones (Dan) The Prints of Rockwell Kent: A Catalogue Raisonné, Chicago & London, 1975 § Knigin (M.) & Murray Zimiles. The Contemporary Lithographic Workshop around the World, New York, 1974 § Lucie-Smith (E.) The Waking Dream: Fantasy and the Surreal in Graphic Art 1450-1900, 1973 § Hogben (c.) & Rowan Watson. From Manet to Hockney: Modern Artists Illustrated Books, 1985 § Reid (A.) A Check-list of the Book Illustrations of John Buckland Wright, Pinner, 1968, illustrations, some colour, original cloth or boards, the first five with dust-jackets, some a little rubbed; and c.40 others on illustration, graphics etc., 4to & 8vo (c.45)

THREE FRENCH PICTURES - 35CM X 45CM APPROX. AFTER COCTEAU / MATISSE ETC

FOUR FRENCH PICTURES 'AFTER' MATISSE & OTHERS - LARGEST 56CM X 76CM

4 FRENCH PICTURES - AFTER MATISSE & KLIMT ETC

HENRI MATISSE 'Portrait of a Woman L9', rare collotype edition 30, 1943, printed by Martin Fabiani, 32cm x 25cm.

HENRI MATISSE 'Portrait of a Woman O3', rare collotype, edition of 30, 1943, printed by Martin Fabiani, 32cm x 25cm.

HENRI MATISSE 'Seated Woman - B6', 1943, rare collotype, Edition: 30, printed by Martin Fabiani, 25cm x 32cm, framed and glazed.

HENRI MATISSE 'Still Life with Shell - G1', 1943, rare collotype, Edition: 30, printed by Martin Fabiani, 25cm x 32cm, framed and glazed.

HENRI MATISSE 'Portrait of a Woman - O11', 1943, rare collotype, Edition: 30, printed by Martin Fabiani, 32cm x 25cm.

Camille Matisse, 20th century, Still Life of Roses in a vases, oil on board, signed Camille Matisse, Paris lower centre, framed, 40 cm high

Photobücher - - Cartier-Bresson, Henri. Images a la Souvette. Mit 126 Abbildungen nach Photographien von Henri Cartier-Bresson. Paris, Verve, 1952. 154 S. 37 x 27,5 cm. Original-Pappband nach einem Entwurf von Henri Matisse. (Rücken etwas gebräunt, etwas fleckig und angestaubt).Erste Ausgabe - Martin Parr, Gerry Badger (Hg.), The Photobook: A History, Volume I, London u.a. 2004, S. 208 mit Abbildung. - Mit kurzer, aber witziger eigenhändiger Widmung von Cartier-Bresson für den Berliner Photographen Frank Wegner: Neben dem gedruckten Zusatz "Photographies" hat Cartier-Bresson ironisch "probablement" geschrieben und unten: "pour Frank Wegner, très cordialement Henri Cartier-Bresson". - Block angeplatzt, Bindung gelockert.

George Leslie Hunter (British, 1877-1931)Anemones in a Yellow Vase oil on panel46.5 x 37.4 cm. (18 1/4 x 14 3/4 in.)Footnotes:ProvenanceWith Alex. Reid, Glasgow.With The Fine Art Society, London, June 1966, no.3090.In early 1925 Hunter travelled to Paris with his friend William McInnes where they visited an exhibition of paintings by Matisse. Hunter was so impressed by the boldness of colour and composition, that he persuaded McInnes to buy a painting (now in the collection of Glasgow Museums). It was still life of anemones on a table top and there are certainly other similarities with this Hunter still life.The Glasgow Art dealer Alexander Reid felt that Hunter was 'a more powerful colourist than Matisse and equally refined' (T. J. Honeyman, Introducing Leslie Hunter, 1937, p. 133). In 1925, Alex Reid Gallery held a critically-acclaimed exhibition of Hunter's work. Hunter had moved into a new studio on West George Street in Glasgow which gave him a renewed zest for painting. Writing to a friend Hunter commented 'I have just got moved into a new studio - a large one on the same floor and which I have 'had up' in nice arrangement of French grey to blue. Entering into it is like a new lease of life.' (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, 2012, p. 122) The trip to Paris and the new studio combined to motivate Hunter to paint some of his best and most realised still life compositions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

[VERVE]. Verve. Vol.1, nos. 1-4. Paris: Teriade, 1937-1939.4 volumes, Folio. Lithographed plates by Kandinsky, Masson, Chagall, Miro, Rattner, Klee, Matisse and Derain and numerous reproductions. Original printed wrappers (slight rubbing to spine ends, very minor soiling); original printed board boxes nos.1-3 (overall slight wear to extremities and minor soiling, top edge lacking vol.1 box, top panel of box present but lacking box below).For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

LIMITED EDITIONS CLUB.A very extensive run of The Limited Editions Club publications through 2010, v.p. [mostly New York], 1929-2010, approximately 555 works, comprising all but 59 of the primary publications and one of the special publications listed in Limited Editions Club A Collectors Guide & Checklist 1929-2012 (Bill R. Majure, compiler). Various Folio to 8vo sizes. Illustrated. Original bindings. (Some light occasional wear to a few volumes, but generally in fresh condition). LIMITED EDITIONS, most one of 1,500 copies signed by the artists. Included are: · SWIFT, Jonathan. The Travels of Lemuel Gulliver. 1929. Signed by Alexander King. (No. 1)· HUGO, Victor. Notre-Dame de Paris. 1930. Signed by Frans Masereel. In the original European-style paper wraps. (No. 13)· DODGSON, Charles Lutwidge. Alice's Adventures in Wonderland. 1932. Signed by Frederick Warde. (No. 36)· APULEIUS, Lucius. The Golden Asse. 1932. Signed by Percival Goodman. (No. 37)· ARISTOPHANES. Lysistrata. 1934. Illustrated and signed by Pablo Picasso. (No. 57)· O. HENRY. The voice of the City. 1935. Signed by George Grosz. (No. 67)· JOYCE, James. Ulysses. 1935. Illustrated and signed by Henri Matisse. (No. 71)· THOREAU, Henry David. Walden. 1936. Illustrated and signed by Edward Steichen. (No. 78)· LEWIS, Sinclair. Main Street. 1937. Illustrated and signed by Grant Wood. (No. 89)· STOWE, Harriet Beecher. Uncle Tom's Cabin. 1938. Signed by Miguel Covarrubias. (No. 97)· BAUDELAIRE, Charles. Les Fleurs Du Mal "“ Flowers of Evil. 1940. With both the English- and French-language editions. (No. 117)· GRAHAME, Kenneth. The Wind in the Willows. 1940. Signed by Bruce Rogers. (No. S-7)· STEINBECK, John. The Grapes of Wrath. 1940. Signed by Thomas Hart Benton. (No. S-8)· SHAKESPEARE, William. The Comedies, Histories, and tragedies of William Shakespeare. 1939-1940. (No. 118)· COOPER, James Fenimore. The Prairie. 1940. Signed by John Steuart Curry. (No. 119)· WHITMAN, Walt. Leaves of Grass. 1942. Signed by Edward Weston. (No. 141)· TWAIN, Mark. Life on the Mississippi. 1944. Signed by Thomas Hart Benton. (No. 158)· GIBBON, Edward. The History of the Decline and Fall of the Roman Empire. 1946. (No. 174)· BROWNING, Elizabeth Barret. Sonnets from the Portuguese. 1948. Signed by Valenti Angelo. (No. 186)· ZOLA, Emile. Nana. 1948. Signed by Bernard Lamotte. (No. 188)· SWIFT, Jonathan. A Voyage to Lilliput"¦ -- A Voyage to Brobdingnag. 1950. (No. 204)· TURGENEV, Ivan. Fathers and Sons. 1951. Signed by Fritz Eichenberg. (No. 212)· Beowulf. 1952. Illustrated by Lynd Ward. (No. 225)· DOSTOEVSKY, Feodor. The Idiot. 1956. Illustrated and signed by Fritz Eichenberg. (No. 264)· VERNE, Jules. Twenty Thousand Leagues Under the Sea. 1956. Signed by Edward A. Wilson (No. 268)· HARDY, Thomas. Far From the Maddening Crowd. 1958. Signed by Agnes Miller Parker. WITH ORIGINAL ENGRAVING LAID-IN. (No. 287)· The Living Talmud: The Wisdom of the Fathers. 1960. Signed by Ben-Zion. (No. 315)· WELLS, H. G. The War of the Worlds. "“ The Time Machine. 1964. Signed by Joe Mugnaini. (No. 354)· STOKER, Bram. Dracula. 1965. Signed by Felix Hoffman. (No. 376)· JEFFERSON, Thomas. The Writings of Thomas Jefferson. 1967. Signed by Lynd Ward. (No. 397)· STEINBECK, John. Of Mice and Men. 1970. Signed by Fletcher Martin. (No. 423)· WILDE, Oscar. Lady Windermere's Fan. "“ The Importance of Being Earnest. 1973. Signed by Tony Walton. (No. 457)· CRANE, Stephen. Maggie, a Girl on the Streets. 1974. Signed by Sigmund Abeles. WITH THE ORIGINAL SIGNED LIMITED EDITION ORIGINAL COPPER ETCHING OF THE FRONTISPIECE laid-in. (No. 472)· WALCOTT, Derek. Poems of the Carribbean. 1982. Signed by Derek Walcott and Romare Bearden. WITH AN ORIGINAL HAND-NUMBERED LIMITED EDITION LITHOGRAPH laid-in. (No 525)· HERSEY, John. Hiroshima. 1983. Illustrated and signed by Jacob Lawrence. (No. 527)· POE, Edgar Allen. Fall of the House of Usher. 1985. Illustrated and signed by Raphael Soyer. (No. 534)· JOYCE, James. Dubliners. 1986. Illustrated and signed by Robert Ballagh. (No. 538)· PAZ, Octavio. Three Poems. 1988. Illustrated and signed by Robert Motherwell. (No. 545)· BECKETT, Samuel. Nohow On. 1989. Illustrated and signed by Robert Ryman. (No. 549)· WHITMAN, Walt. Song of the Open Road. 1990. Illustrated and signed by Aaron Siskind. (No. 552)· CONRAD, Joseph. The Heart of Darkness. 1992. Illustrated and signed by Sean Scully. (No. 560)· POUND, Ezra. Cathay. 1992. Illustrated and signed by Francisco Clemente. (No. 561)· KYOKA, Izumi. The Tale of the Wandering Monk. 1995. Illustrated and signed by Setsuko Ideta. 1995. (No. 568)· HUGHES, Langston. Sunrise is Coming After While. 1998. Signed by Maya Angelou, Illustrated and signed by Phoebe Beasley. (No. 576)· HURSTON, Zora Neale. Bookmarks in the Pages of Life. 2001. Signed by Betye Saar. (No. 580)· ANGELOU, Maya. Deep Rivers in My Soul. 2003. Signed by Maya Angelou, Dean Mitchell, and Wynton Marsalis. (No. 584)· CAVAFY, Constantine P. A Tribute to Cavafy"¦ 2003. Signed by Duane Michals.· KING, Martin Luther. Letter from a Birmingham City Jail. 2008. Illustrated and signed by Faith Ringgold. (No. 588)· The Declaration of Independence. 2010. Illustrated and signed by Robert Frank. (No. 589)[With:] A virtually complete run of all special and promotional publications, including: DWIGGINS. Towards a Reform of the Paper Currency. 1932. (No. S-1). -- The Dolphin, a Journal of the Making of Books. Nos. 1-3. 1933, 1935, 1938. (Nos. S-2, S-3, S-4). -- Bibliography of the Fine Books Published by the Limited Editions Club 1929-1985. (S-9). -- Monthly Letters: The First Fifty Monthly Letters, 1929-1933. (S-10). [Also with:] A complete run of Promotional Publications. -- A profusion of ephemera including prospectuses, pre-publication announcements and holiday greetings.Of the first fifty-eight series of LEC publications, twenty-four are absolutely complete; sixteen are lacking only one volume. The collection also includes the majority of the publications issued after series numbering was discontinued.The Limited Editions Club, founded in 1929 by George Macy, sought to publish finely illustrated and produced classics of world literature. It was the longest-lasting and most successful publishing venture of its kind. The present collection includes books from the golden era of the Club, when it was under the direction of George Macy, as well as livres d'artiste produced by The Club under the direction of Sidney Shiff.Property from the Collection of Jack BelcherFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

IMPRESSIONIST PRINTS - PICASSO, MATISSE AND MIRO AND A PAUL KLEE PRINT

MATISSE -- (MATHEY, F., ed.). Henri Matisse. Les grandes gouaches découpées. Par., Exhib. Cat. Musée des arts décoratifs, 1961. 74, (1) pp. W. cold. (lithogr.) ills. printed by Mourlot, photogr. ills. by H. Adant. Or. lithogr. wrps.

A collection of art reference books including 'History of Art' by H. W. Janson, 'The Joy of Art', 'Harvey Dinnerstein Artist at Work' and further relating to the Impressionists, Post-Impressionists, L. S. Lowry, Goya, Picasso, Matisse, etc.

A FAHUA-TYPE MODEL OF A SHRINE TO ZHENWU16th/17th centuryThe shrine glazed in deep purple and turquoise blue with 'flying' roofs housing a seated figure of bearded Xuanwu before a snake and turtle, flanked by two guards beneath coiling dragons, a small figure of Guanyin in the window above. 29cm (11 7/16in) high. Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十六/十七世紀 琺華釉真武大帝神龕See a similar example formerly in the personal collection of Henri Matisse and now in the collection of the Musée Matisse, Nice, illustrated by H.Kam-chuen, et al., Paris 1730–1930: A Taste for China, Hong Kong, 2008, no.146. Compare with a similar Fahua model of a shrine, Ming dynasty, 16th century, which was sold at Christie's London, 5 November 2013, lot 433.For further information on this lot please visit Bonhams.com

Salvador Dali (1904-1989) Poster for French Railways, Alsace Chemins de fer Française, S.N.C.F. 1970, No 7, printed by the French National Railways, measurements 99 x 62 cm (SH). Together with; after Henri Matisse (French 1869-1954) Exhibition poster, Lithographies- Eaux Fortes, at Galerie Adrien Maeght, 42 rue du bac Paris VII, measurements 67 x 51 cm (2)

* MARGOT SANDEMAN (SCOTTISH 1922 - 2009), STILL LIFE WITH FRUIT, oil on canvas, initialled and dated '88 66cm x 41cm Unframed. Note: Personal inscription verso, 'all my best wishes to both, with love from Margot, 4th August 2006' Note 2 : Margot Sandeman was an accomplished Glasgow painter, who worked with Ian Hamilton Finlay and became Joan Eardley`s longest-standing friend, a friendship that lasted until Eardley`s death in 1963. At the Glasgow School of Art she was quickly singled out, along with Eardley, by Hugh Adam Crawford, head of drawing and painting, for an experiment in which a very small number of outstanding students in that 1939 session were selected for special attention. This effectively amounted to a three-year course in two years, with Crawford himself as tutor. The war interrupted her painting career as did the bringing up of her children following her 1946 marriage to ceramicist James Robson. In 1970 she won the Guthrie Award of the Royal Scottish Academy, the Redpath Award from the Society of Scottish Artists and a Scottish Arts Council prize. In 1988-89 she produced a series of large canvases of bathers echoing Matisse and Seurat and in 1989 she was the Scottish Winner of the prestigious Laing Competition. She also collaborated with her old contemporary Ian Hamilton Finlay on his texts and also created a parallel series of still-lifes plus all the illustrations for his "concrete poetry". Sandeman contributed to mixed exhibitions in the UK and US, with her principal solo exhibitions being at the Demarco Gallery in Edinburgh and the Hughson Gallery in Glasgow, with a final show at the Talbot Rice Gallery in Edinburgh in 2006. Her work is represented in public and private collections in Scotland and in private collections in the US and UK.

HENRI MATISSE 'Nu Bleu IX', original lithograph from the 1954 edition after Matisse's cut outs, signed in the plate, 35cm x 27cm. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Nu Bleu III', original lithograph from the 1954 edition after Matisse's cut outs, signed in the plate, 35cm x 27cm. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'La Negresse', 1954, lithograph after the 1950 cut out, printed by Mourlot Paris, 35cm x 52cm, framed and glazed.

HENRI MATISSE 'Portrait of a Woman', quadrichrome, vintage French frame, 65cm x 55cm.

4 Clicheés, Poster Art, Soulages, Matisse, Miro, ChagallMatisse; Soulages, Miro, Chagall4 Druckplatten/ Clichées zur Plakatkunst der 1950/60er Jahre. Bestehend aus: Pierre Soulages, Berggruen Paris 1958, 23 x 15,2 cm. Henri Matisse, Maison de la Pensée, 1950er Jahre. Juan Miró, Album 19, 20,5 x 15,2 cm. Marc Chagall, Musée Rath Genève 1962, 21 x 15,3 cm. 4 Clicheés, Poster Art, Soulages, Matisse, Miro, ChagallMatisse; Soulages, Miro, Chagall4 printing plates / clichées on poster art from the 1950s / 60s. Consists of: Pierre Soulages, Berggruen Paris 1958, 23 x 15.2 cm. Henri Matisse, Maison de la Pensée, 1950s. Juan Miró, album 19, 20.5 x 15.2 cm. Marc Chagall, Musée Rath Genève 1962, 21 x 15.3 cm.

Henri Matisse (1869 Le-Cateau-Cambrésis - 1954 Cimiez) nach"La Danse" (Der Tanz). OriginaltitelPochoir/Velin, 1959. Nach einem Aquarell von Matisse. Druck Jacomet, Paris. Sign. im Druck. Passepartoutausschnitt 32,5 x 25,5 cm. Rahmen.After Henri Matisse (1869 - 1954), Pochoir on wove paper. Signed in the print.

Verve: Revue Artistique et Littéraire, edited by E.Tériade, nos.4, 5/6, 7, 9, 10, 12, 14/15 & 16, French text, some colour lithographs by Matisse, Bonnard and others (see below), one double-page, many printed on both sides of sheet, numerous other plates and illustrations, many colour, some heightened with gold, some tipped in, original pictorial wrappers or boards, rubbed, no.12 with upper cover detached, a few with glacine wrappers, mostly torn and defective, 4to, Paris & London, lithographs printed by Mourlot Frères, 1939-46.⁂ Comprising: No.4 Lithographs by Matisse (4, one double-page of 'La Danse') & Derain (4), cover by Rouault. No.5/6 Lithographs by Guys (4), Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse (2) & Klee, cover by Maillol. No.7 Les Très Riches Heures du Duc de Berry: Le Calendrier par Pol de Limbourg & Jean Colombe. No.9 Les Fouquet de la Bibliothèque Nationale. No.10 Les Très Riches Heures du Duc de Berry: Images de la Vie de Jésus par Pol de Limbourg & Jean Colombe. No.12 Les Fouquet de Chantilly. Les Heures d'Étienne Chevalier: La Vierge et les Saints par Jean Fouquet. No.14/15 Jean Bourdichon: Les Heures d'Anne de Bretagne. No.16 René d'Anjou: Traité de la Forme et Devis d'un Tournoi.

MoMA New York poster, Picasso, Les demoiselles D'Avignon, 85x76cm; together with a Matisse print, 55x76cm

A group of six Matisse related reference books to include Matisse by Pierre Schneider, Henry Matisse: a retrospective the Museum of Modern Art, Matisse in Morocco, Henri Matisse Drawing with Scissors edited by Olivier and Hollein and Max Hollein, Matisse the man and his art by Jack Flam and Matisse by Sandra Orienti. 

HENRI MATISSE 'Seated Woman with Flowers - N1', 1943, rare collotype, printed by Martin Fabiani, Edition: 30, 32cm x 25cm, framed and glazed.

HENRI MATISSE 'Seated Woman with Cigarette - E4', 1943, rare collotype, printed by Martin Fabiani, Edition: 30, 32cm x 25cm, framed and glazed.

HENRI MATISSE 'Still Life A2', collotype, printed by Martin Fabiani, plate signed, edition of 30, 32cm x 25cm, framed and glazed.

HENRI MATISSE 'Red Cut Out', 1961, Couverture - signed in the plate, arts Decoratifs, 22cm x 26cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Blue Nude', 1961, off set lithograph, signed in the plate, Arts Decoratifs, 23cm x 18cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Danseuse', lithograph after the drawing, 1949, published by Maeght, Paris, plate signed, 30cm x 27cm, framed and glazed. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE 'Paula', 1950, lithograph, printed by Maeght editeur, Paris, 38cm x 27cm, framed and glazed.

HENRI MATISSE 'Visage Souriant', 1957, offset lithograph, published by Maeght editeur, Paris, signed in the plate, 30cm x 27cm, in hand etched frame. (Subject to ARR - see Buyers Conditions)

§ JEAN DUFY (FRENCH 1888-1964) ROUTE DE RIVES (TOURAINE) Signed (lower right), oil on canvas(64.5cm x 45.5cm (25.25in x 17.75in))Footnote: Literature: Bailly, Jacques and Jean Dufy, Jean Dufy 1888-1964 Catalogue Raisonne, published by Editions Jacques Bailly, 2002, p.165, cat. no. B.183. Jean Dufy was a French Art Deco artist, best known for his colourful, melodic depictions of post-war Parisian society. Working to capture everyday life, from concert halls and circuses to country landscapes and busy Parisian streets, Dufy focused on recreating the feeling and impression of a scene, rather than individual details. In 1906, Dufy visited the exhibition ‘Cercle de l’Art Moderne’ in La Havre, and it was this show that eventually inspired him to pursue an artistic career. The exhibit, one of Dufy’s first exposures to Modern Art, crucially shaped his approach to art and introduced him to artists such as Picasso and Matisse. While he had no formal training, his older brother was well-known French Fauvist Raoul Dufy, who served as his artistic mentor. In January 1914, Dufy launched his artistic career, holding his first show at Galerie Berthe Weil. He returned to Paris after the war and settled in the Montmartre district of Paris, moving next door to artist George Braque, who encouraged Dufy to experiment with Cubism. His personal painting style developed into a vibrant fusion of Post-Impressionism with a loose decorative approach to colour and line, which he achieved from his work in porcelain design. For almost 30 years, Dufy worked for Limoge porcelain manufacturer Theodore Haviland, hand-painting decorative designs of animals and flowers. At the 1925 L’exposition Internationale des Arts Décoratifs he was awarded a gold medal for designing the service ‘Châteaux de France’. Dufy participated in many exhibitions, including the Salon d’Automne, which reflected the popularity of jazz music and the art of Parisian culture after the war. Dufy would return to his native Normandy throughout his life and spent long stretches of time in the south of France. The dynamism of these landscapes and cityscapes - particularly noticeable in the street scene Route de Rives (Touraine)- are so cleverly captured due to Dufy’s uniquely musical and distinctive Post-Impressionistic style.