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After Henri Matisse (French, 1869-1954), colour lithograph, ‘Decoration Fruits’, Paris 1958, 35 x 72cm. Condition - good

AFTER HENRI MATISSE, 101 Nights, extra large quadrichrome, 208cm x 85cm.

HENRI MATISSE, Teeny, linocut, dated in the plate, French vintage frame.

Sammlung von 18 modernen Druckgraphien, u.a. Max Bill, Keith Haring, Gerhard Richter u. Roy Lichtenstein18 Blatt Graphik, darunter: Serigraphien von Louise Nevelson, 2 x Roy Liechtenstein, Max Bill, Vladimir Velickovic, Keith Haring; Farblithographie von R. Kirchner sowie Farboffsets/Plakate von Ernst Ludwig Kirchner, Alexj von Jawlensky, Robert Delauney, Christo, Alain Le Foll, Thomas F. Mcknight, Bernhard Krug, Henri Matisse, Paul Klee, Gerhard Richter, Max Beckmann, (Max Bill mit leichtem Einriss an der rechten oberen Kante sowie fehlender Ecke) teils aus der Achenbach Art Edition/Düsseldorf, o. Rahmen, Selbstbesichtigung empfohlen!

Rolf Müller-Landau, "So gehe dieser Kelch von mir", signierte Monotypie von 1952Rolf Müller-Landau, 1903 Kia Ying Chow - 1956 Bad Bergzabern, "So gehe dieser Kelch von mir", Monotypie, 44 x 54 cm, signiert, betitelt, auf Karton aufgebracht, WVZ Rolf Müller-Landau - Leben und Werk, S. 80/ Nr. 3.Zum Künstler: Mitbegründer der Pfälzischen Sezession. 1922-29 Studium an der Staatlichen Akademie der Bildenden Künste Karlsruhe. Nach 1945 beeinflusste Rolf Müller-Landau zunehmend die bisher in Deutschland schwer zugängliche Kunst Frankreichs - vor allem die von Georges Braque, Paul Cézanne, Henri Matisse und Pablo Picasso - und sein Schaffen erreichte eine überregionale Anerkennung. Besonders hervorzuheben sind seine Farbschnittmonotypien, eine von ihm entwickelte Drucktechnik: Auf hauchdünnem chinesischem Reispapier wurden handbemalte Holz- und Linolschnitte gedruckt. Rolf Müller-Landau gelang damit eine Verschmelzung von Malerei und Druckgraphik. Jede einzelne Farbschnittmonotypie wurde so zu einem Unikat.

Großes Konvolut moderne Grafik u. Originale auf PapierCa. 50 Blatt, dabei: Druckgrafiken in verschiedenen Techniken von Willi Baumeister, 1889-1955; Alfred Cohen, 1920-2001; Friedrich Einhoff, 1901-1988; HAP Grieshaber, 1909 - 1981; Nils Haglund, 1939-1990; Michael Hoffmann, *1944; Ulrike Kirbach, *1951; Thomas Knoblauch, XX.; Hélène Laffly, 1925- 2014; Michael Lingren, *1944; Peter Lübbers, 1934-1982; Marcel Marceau, 1923-2007; Marino Marini, 1901-1980; Henri Matisse, 1869-1954; Rui Quimio, XX.-XXI.; Hans Georg Rauch, 1939-1993; Karl Rölling, 1904-1981; Hans Schröder, 1930-2010; Herbert Tucholsky, 1896-1984; Vladimir Velickovic, 1935-2019; Ludwig Wildung, 1927-2010; Markus Zürchner, 1946-2013; Original-Arbeiten auf Papier von Frank Ermschel, 1957-2017; P. Nagel, XX.; Guido Schlemmer, XX. u.a., z.T. unleserliche signierend, auch Ausstellungs-Plakate, unterschiedliche Zustände, für Selbstbesichtiger!

Henri Matisse, "L`Avaleur des Sabres" (Schwertschlucker) , Farblithographie, galeriegerahmtHenri Matisse, 1869 Le Cateau-Cambrésis - 1954 Cimiez/ Nizza, französischer Maler, Grafiker, Zeichner und Bildhauer. Er zählt mit Pablo Picasso zu den bedeutendsten Künstlern der Klassischen Moderne, hier: "L`Avaleur des Sabres" - der Schwertschlucker, Farblithographie aus der Serie "Jazz", 39 x 30 cm, unter P.partout im Galerierahmen."Jazz" ist ein Werk der Buchkunst, das aus zwanzig Illustrationen sowie Texten von Henri Matisse besteht. Es basiert auf Scherenschnitten und ist eines der wichtigsten Künstlerbücher des 20. Jahrhunderts. "Jazz" wurde im Herbst 1947 veröffentlicht. Der Titel ergibt sich aus der Improvisation und dem Rhythmus der Bilder, die den Bezug zum Musikstil Jazz herstellen. Motive, die Clowns, Akrobaten, Kunstreiter und Säbelschlucker darstellen, weisen auf den ursprünglich geplanten Titel „Cirque“ (Zirkus) hin. Spaßmacher und Akrobaten dienen als Metaphern für die künstlerische Existenz.

LIN FENGMIAN (1900-1991)Fishing Boats off the CoastInk and colour on paper, signature and seal of the artist mounted, framed and glazed. 33cm (13in) square. Footnotes:林風眠(1900-1991) 江邊漁船 設色紙本 鏡框 款識：林風眠鈐印：林風暝印Provenance: an English private collection, acquired by the owner's parents in China, and thence by descent來源： 英國私人舊藏，由現所有者父母購自中國，並由後人保存迄今Lin Fengmian, a native of Meixian, Guangdong Province, is one of the most important artists in 20th-century China. His grandfather was a stone carver, and his father was a local painter. Lin learned both trades during his childhood and in 1919 travelled to France, where he studied and worked for six years at Dijon Art College and the École Nationale Supérieure des Beaux-Arts in Paris. In France, Lin studied European painting, particularly the works of Matisse, Picasso, and Modigliani. In 1923, he travelled extensively in Germany. In 1979, he settled in Hong Kong, where he spent the remainder of his life. Lin's work integrated the Impressionists' technique of working with outdoor lighting with traditional Chinese ink and wash, successfully blending Western principles of composition with Chinese colour and ink figure sketches. For more details, see Three Thousand Years of Chinese Painting, New Haven, 1997, pp.323-324.In the mid-1950s, the new Communist government encouraged artists to serve the people and depict scenes of common folk at work. Along with artists from the Shanghai Artists Association, Lin Fengmian travelled several times to the fishing grounds at Zhoushan, Zhejiang Province. Since then, Lin created a series of paintings portraying the life and work of fishing villages. For more details, see Art 60 Years in China 1949-1979, Shijiazhuang, 2009, pp.72-73.Compare with a related painting by Lin Fengmian, of cormorants by the fishing boats, which was sold at Sotheby's Hong Kong, 30 April 2022, lot 3175.For further information on this lot please visit Bonhams.com

Henri Matisse poster: 'Le Buisson (The Bush)', Celebration D'Art Exhibition poster, 2016, 70 x 70 cm, unframed (presentation sleeve is not included in this lot)

Henri MATISSE (1869-1954) Nu Bleu IX Lithograph 1954 after cut-out, 34.5cm x 26cm, 57.5cm x 47cm framed, Badcocks Gallery receipt to verso. Shipping is available from £32.50 to a UK Mainland address.

Margaret DEANS (1942) Exmoor Hawthorn Mixed media on canvas, signed verso with artist's label, 40cm x 50cm, 44cm x 54cm framed. Born in Brighton, Margaret Deans attended Hove County Grammar School and after training at Hastings School of Nursing became a registered nurse in 1964. Subsequently she qualified as a Nurse Tutor, and gained an MA in Curriculum Development at Sussex University. Deans moved to Cornwall in 1987, and now lives and works in the west of the county. In 2010 she completed a BA (Hons) with the Open University in Art History, having taken up painting in 2001. She acknowledges the influences of Howard Hodgkin, Patrick Heron, Matisse and Picasso. She believes it is the changing light that fuels her painting practice, primarily focussed on colour. For her the sense of the Cornish landscape is expressed in abstract shapes. Shipping is available from £32.50 to a UK Mainland address.

HENRI MATISSE, a portrait of a woman K4, signed in the plate, lithograph 1966, printed by Mourlot, distressed frame, 52cm x 39.5cm. (Subject to ARR - see Buyers Conditions)

PIERRE BONNARD (FRENCH 1867-1947) LE BAIN (BOUVET 92a) lithograph on paper, from Album des peintres lithographes de Manet à Matisse, from the un-numbered edition of 525, printed by Atelier Duchatel, published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris 31cm x 23cm (12 1/8in x 9in) with William Weston Gallery, London;Property of a Private Aficionado.

IVON HITCHENS (BRITISH 1893-1979) BLUE RIVER, 1932 signed and dated 32 (lower left), oil on canvas 50.8cm x 76.2cm (20in x 30in) with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm.  Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.

HENRI MATISSE (FRENCH 1869-1954) NU DRAPÉ SUR FOND COMPOSÉ DE CERCLES, 1931 (D.224) signed and numbered 16/25 in pencil in the margin (lower right), etching on Chine appliqué paper plate: 11.7cm x 8.7cm (4 5/8in x 3 3/8in) Sotheby's, London, Old Master, 19th and 20th Century and Contemporary Prints, 12 December 1991, lot 419;Private Collection, U.K.

BRITISH SCHOOL, LOCH LANDSCAPE, DUMGOYNE watercolour, signed A.T. Doig, along with a Matisse printeach framed under glassthe watercolour 37cm x 55cm, 60.5cm x 76cm overallQty: 2

Christopher Ward, a gentleman's stainless steel and diamond 'Matisse' quartz chronograph wristwatch, ref. 316 L, the silvered dial with concentric engine turned decoration, multicoloured enamel indicators, and subsidiary dials for seconds, tenths and minutes, and date wheel aperture, within a bezel set with brilliant-cut diamonds, mounted in stainless steel, to a leather strap and deployant clasp, case width 3.6cm, signed Christopher Ward, numbered 316L and 0029, case stamped Christopher Ward London, instruction manual, together with an automatic watch winder, 20cm high

HENRI MATISSE, ‘Collotype 08 Portrait of a woman’, Edition: 950 1943- Printed by Martin Fabiani 33 x 25cm. (Subject to ARR - see Buyers Conditions)

HENRI MATISSE, a set of four, blue nudes lithographs, 17cm x 24cm each. (Subject to ARR - see Buyers Conditions)

United States: Crown Publishers, 1978. Full title: The Moderns: A Treasury of Painting Throughout the World. Hardcover book with color images and information of some of the most renowned artists such as Matisse, Cezanne, Gauguin, Van Gogh and others. 218 pages. ISBN 9785551820116. Dimensions: 9.5"W x 12.75"H x 1.25"DManufacturer: Crown PublishersCountry of Origin: United StatesCondition: Age related wear.

Marguerite Milward (King´s Norton/Worcestershire 1873 - 1953)Figur "Sonnenanbeterin", Bronze gegossen und dunkelbraun lackpatiniert, auf einer großen Blüte sitzender Mädchenakt in kontemplativ - meditativer Haltung mit geschlossenen Augen und erhobenen Händen, sechseckiger Stand mit rundem, blattverziertem Aufbau, rückseitig am Stand undeutlich signiert und datiert "192.", auf originalem, sechseckigem Schiefersockel, H gesamt 28 cm, England 1920er Jahre, guter Zustand mit feiner, samtiger Patina 0109 Es handelt sich um eine frühe, bisher scheinbar nicht verzeichnete Skulptur der englischen Anthropologin und Bildhauerin Marguerite Milward, diese studierte ab 1907 in Paris an der Academie Colorossi und an der Académie de la Grande Chaumière (AGC), sie war eine der ersten Studentinnen im Atelier von Antoine Bourdelle, der als Schüler von Auguste Rodin u.a. auch Henri Matisse und Alberto Giacometti unterrichtete, er gilt als wichtiger Protagonist der Art Deco - Bewegung der frühen 1920er Jahre Prov.: Englischer Privatbesitz, Privatsammlung Deutschland

A box of art related books to include: The A to Z of Art, Monet, Matisse, etc.

Expressionismus - - Paul Westheim (Hg.). Das Kunstblatt. Sammlung von 26 Ausgaben aus den Jahren 1917-1931. Mit 7 Original-Graphiken und zahlr. Abb. Potsdam, Kiepenheuer. 4°. Je ill. Original-Broschur (gebräunt und etwas altersspurig). Enthält folgende Ausgaben: Jan. u. April 1917. März, Mai u. Nov. 1918. Juli u. Okt. 1919. Aug. 1920. Mai 1921. März u. Okt. 1922. April, Mai, Juni, Aug., Okt. u. Dez. 1924. Febr. u. März 1925. Jan. 1926. Febr. 1929. Febr., Juni u. Nov. 1930. Mai 1931. - Zudem ein Ankündigungsblatt zum Erscheinen der 1. Ausgabe. 4 S. - Original-Graphiken in Form von Lithographien und Holzschnitten von: Josef Eberz, Werner Gothein, Georg Schrimpf, Max Pechstein, Otto Gleichmann, André Derain und Stanislaus Stückgold. - Teils farbige Beigaben nach Werken von u.a. E. Munch, M. Laurencin, G. Seurat, A. Loos, P. Picasso, o. Kokoschka, E. Nolde, A. Rubljew, W. Lehmbruck, H. Matisse, E. L. Kirchner, E. Schell u. O. Mueller. - Nicht eingehend kollationiert, die Original-Graphiken alle vorhanden. Hefte von Okt. 1919 mit der Graphik von Derain und Okt. 1922 mit Wasserrand. Heft von Mai 1931 mit loser Bindung und teils losen Blättern. Wohlerhalten. Expressionism - Collection of 26 issues from the years 1917-1931. With 7 original prints and numerous illustrations. Each ill. orig. wrappers (browned and somewhat age-marked). - Contains the following issues: see above. - Original prints in the form of lithographs and woodcuts by: Josef Eberz, Werner Gothein, Georg Schrimpf, Max Pechstein, Otto Gleichmann, André Derain and Stanislaus Stückgold. - Partly coloured supplements after works by E. Munch, M. Laurencin, G. Seurat, A. Loos, P. Picasso, o. Kokoschka, E. Nolde, A. Rubljew, W. Lehmbruck, H. Matisse, E. L. Kirchner, E. Schell and O. Mueller. - Not collated in detail, the original prints all present. Issues from Oct. 1919 with the graphic by Derain and Oct. 1922 with waterstaining throughout. Issue from May 1931 with loose binding and some loose leaves. Well preserved.

Henri Matisse (1869-1954)Vierge et Enfant Sans Indication des Visages I (Duthuit 651)Lithograph, 1950-51, signed in pencil, numbered from the edition of 100, on chine appliqué supported on Arches wove paper, with full margins, sheet 500 x 380mm (19 3/4 x 15in)

Henri Matisse (1869-1954)Catherinette (Duthuit 620)Lithograph, 1946, signed in pencil, numbered from the edition of 100, published by Galerie des Peintres-Graveurs, Paris, with their blindstamp, on chine appliqué supported on Arches wove paper, with full margins, sheet 500 x 380mm (19 3/4 x 15in)

Henri Matisse (1869-1954)Jeune Fille accoudée au Paravent Fleuri (Duthuit 439)Lithograph, 1923, a fine, richly inked impression, signed in pencil, numbered from the edition of 60, published by Bernheim-Jeune Éditeur, Paris, on chine, with wide margins, sheet 270 x 345mm (10 5/8 x 13 5/8in)

Henri Matisse (1869-1954)Verve Vol. IX, Nos. 35-36The book, 1958, comprising forty lithographs printed in colours, with title-page, text and justification, printed by Moulot Freres, published by Editions de la Revue Verve, Paris, the full sheets bound as issued within the original pictorial boards, overall 365 x 265mm (14 3/8 x 10 1/2in)

§ Patrick Heron CBE (1920-1999) FIVE REDS, FOUR DISCS : MAY 1965signed, titled and dated May 1965 to the reverseoil on canvas122 x 132cm Exhibited:Private Collection (via Waddington Galleries, London and Richard Demarco Gallery, Edinburgh), September 1966With Waddington Galleries, London August 1967Private collection, CambridgeExhibited:New York, Bertha Schaefer Gallery, Patrick Heron: New Oils, 4-23 October, 1965, cat. no.9Edinburgh, Richard Demarco Gallery, Inaugural Exhibition, August-September, 1966, cat. no.73We are grateful to Dr Andrew Wilson for his assistance in cataloguing this work and for compiling the catalogue note.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist’s work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Cheffins, 1-2 Clifton Road, Cambridge CB1 7EA or email fine.art@cheffins.co.uk Patrick Heron was a pioneering British abstract painter of the second half of the 20th century, his aesthetic position was grounded firmly within European sensibilities through which he engaged with the achievements of French artists such as Henri Matisse, Georges Braque and Pierre Bonnard, yet also responded to the possibilities of new approaches to abstraction he recognised both in American abstract expressionism and in the work of British artists of his own generation.FIVE REDS, FOUR DISCS : MAY 1965 occupies a significant position in Heron’s oeuvre, and was included in his third solo exhibition in New York at the Bertha Schaefer Gallery. Each of his three exhibitions in New York – in 1960, 1962 and 1965 – offered both a response to the possibilities he at first recognised in new American abstract painting after 1956 and a challenge to what he saw increasingly as its shortcomings. The paintings that were included in his 1965 New York exhibition stand in high contrast to American ‘post-painterly’ abstract painting typified by the airbrushed open colour fields of Jules Olitski or the stained symmetrical compositions of Kenneth Noland, and reveal the degree to which Heron was expanding the possibilities of abstract painting.Limiting the composition of this painting to four disc shapes and the colour to five different reds underlines how Heron created compositional and spatial complexity out of comparatively simple means. These colours and shapes are arranged within planes parallel to the picture surface expressed through drawn lines that define the interacting colour areas. The ways in which these colour shapes interact is how an active pictorial illusion of space is created that contradicts the flatness of the canvas surface itself. Each colour shape for Heron is just that, interacting with each other shape as a fully realised compositional unity and not in the way the hierarchy of a traditional figure/ground relationship might work. The illusion of space is active because it changes along with the colour relationships, shifting and altering in character as the viewer’s eyes move over the canvas led by line, colour and shape. Brush marks offer visible traces of the act of painting rather than just mark down paint literally as colour – adding further spatial complication to the colour-relationships he has created. FIVE REDS, FOUR DISCS : MAY 1965 is a painting animated by the interaction of colour within a complex composition that creates space, playing equally on the eye and the emotions.The unlined canvas is attached to a wooden stretcher with two vertical cross bars. The canvas tension is adequate and the painting is generally in plane. Water staining is evident on the reverse of the picture and this has affected the paint layers. Flaking and loss has occurred at the top and bottom edges, where moisture has been retained by the stretcher bars behind. The flaking has been recently stabilised to prevent further loss to the original paint. There are other localised areas of cracked and raised paint in the main composition. Water drips are evident on the surface, in the lower circle, this has affected the paint layers, revealing the white ground below. There is also dark staining, possibly mould, which has formed along the brushstrokes of the lower circle and upper right orange section. There is a white, sparkly haze across the surface of the unvarnished painting, which is likely a bloom caused by damp conditions.

HENRI MATISSE Le Cateau-Cambrésis 1869 - 1954 Nizza: 50 Ans de „Collages“... Ausstellungsplakat des Musée de Saint-Étienne 1964. Farblithographie nach einem 1953 entstandenen Werk von Matisse um 1964. Czwiklitzer 21. - Mit dem Namenszug und Datum im Stein sowie typographischer Adresse von Mourlot und Plakattext. Auf Vélin. 75,5 x 50 cm. [ms]

HENRI MATISSE Le Cateau-Cambrésis 1869 - 1954 Nizza: Nu (Odalisque). Auf einem Sessel sitzende Odaliske. Farbige Photolithographie nach einem Gemälde von Matisse um 1954. Maeght Nr. 1505. - Abdruck außerhalb der numerierten Auflage von 300 Expl. Mit dem Namenszug in der Darstellung. Auf kräftigem chamoisfarbenen Vélin d’Arches. 47 x 39 cm (Blatt: 64,3 x 48,3 cm). Schwach gebräunt und mit vereinzelten leichten, kurzen Randknickspuren. [ms]

HENRI MATISSE Le Cateau-Cambrésis 1869 - 1954 Nizza: Vierge et Enfant sur Fond de Fleurs et d’Etoiles. Lithographie. Duthuit-Matisse 646. - Expl. außerhalb der Auflage von 200 Expl. Auf aufgewalztem chamoisfarbenem China. 30,5 x 23,2 cm (Vélin d’Arches: 49 x 37,8 cm). Ränder schwach fleckig und gering gebräunt. [ms]

HENRI MATISSE Le Cateau-Cambrésis 1869 - 1954 Nizza: Matisse. Dessins. Ausstellungsplakat der Galerie Dina Vierny, Paris 1970. Farblithographie nach einer 1956 entstandenen Zeichnung von Matisse um 1970. Mit dem Namenszug und Datum im Stein sowie typographischem Plakattext und Copyright von Mourlot. Auf kräftigem chamoisfarbenem Vélin d’Arches. 76 x 57,2 cm. Ränder schwach gebräunt. [bg]

HENRI MATISSE Le Cateau-Cambrésis 1869 - 1954 Nizza: Marguerite II. Lithographie 1945. Duthuit-Matisse 570. - Probedruck mit Bleistiftnotiz „B“ (Bon?). Mit gedruckten Markierungskreuzen für die endgültige Blattgröße in den Ecken. Auf kräftigem chamoisfarbenem Vélin d’Arches. 32,7 x 26 cm (Blatt: 42,6 x 32,5 cm). Ränder mit schwachen Spuren von Druckfarbe, winzigem Fleckchen und kurzen schwachen Knickspuren. [ms]

Camille Matisse (French, first half 20th century) Still life of flowers in a blue and yellow vase oil on canvas, signed 'Camille Matisse (Paris)' lower right, gold painted gilt and composition frame (losses) 23½ x 17½in (59.7 x 44.5cm) * Surface dirt and discoloured varnish. Small frame abrasions to margins. Good overall.

Henri Matisse ( 1869-1954)- graphic, Terrace lithography on paper, signed in the stone , Edition Murlot Paris 1960 in passepartout . 30X22cm

Helene Adant (1903-1985), portrait photo of Henry Matisse (1869-1954). Around 1940. 29,5 x 23,5 cm.

Henri Matisse ( 1869-1954)- graphic, Girl lithography on paper, numbered , Edition Murlot Paris around 1960 in passepartout . 30X22 cm

Henri Matisse (1869-1954) 'The Skaters' silkscreen print. Monogrammed in the plate 'NH' bottom right, label verso, 42cm x 56cm. Framed and glazed.

Henri Matisse, lithographic print - Editions De La Revue, ' Nu Debout ', published Draeger Freres, Paris, 1948, bears pencil signature, 27 x 22.5cm, framed

LÉONARD TSUGUHARU FOUJITA (1886-1968)Nu assis signed and dated 'Foujita 1929' and further signed in Japanese (lower right); signed, inscribed and dated 'Paris 1929 Foujita' and further signed and inscribed in Japanese (on the stretcher)oil on canvas81.3 x 53.8cm (32 x 21 3/16in).Painted in Paris in 1929Footnotes:The authenticity of this work has been confirmed by Sylvie and Casimir Buisson, ACRB (Art Cataloguing Research Buisson), Paris. This work will be included in the forthcoming Vol. V of the Léonard Tsuguharu Foujita catalogue raisonné, currently being prepared.ProvenanceGalerie Colette Weil (acquired directly from the artist).Private collection, Germany and UK (probably acquired from the above circa 1930).Private collection, UK (a gift from the above circa 1965). Private collection, UK (a gift from the above circa 1997).'An idea came to me one day: in Japanese painting, there are only a small number of nudes. Even painters like Harunobu or Utamaro only let you see part of the leg or knee and could only express the feeling of the skin in those places. This is what encouraged me to start painting nudes again [...], with the precise objective of representing the quality of the most beautiful material of all: that of human skin.'(Foujita, '17 ans en France', quoted in exh. cat., Foujita, peindre dans les années folles, Paris, Musée Maillol, 2018, p. 119.) The Japanese painter Léonard Tsuguharu Foujita achieved this renewed aspiration to depict the unadorned female figure through a series of paintings known as the 'milky white' nudes. A leitmotiv of the Western artistic canon, this exploration initiated one of Foujita's most prolific and successful bodies of work, much praised by his contemporaries since the early 1920s. The present Nu assis, with her pearly skin and daring pose, was painted at a key moment of the artist's life trajectory, in the twilight of the so-called 'Années folles à Montparnasse' and shortly before he embarked on long travels between Japan and the Americas. In 1929 Foujita was at the highest point of his career: among the most celebrated figures of the École de Paris, he was one of the few artists of this school to achieve commercial success in his lifetime. Together with public acclaim, his luxurious and extravagant lifestyle attracted the attention of the French tax authorities to whom he owed a hefty sum. His following tour in Japan with his wife Lucie Badoul ('Youki') was thus also motivated by the need of exhibiting - and selling - his Parisian works. The museums and the newspapers in Tokyo were thrilled with the return of the local artist-idol after 16 years. In just 70 days, the travelling exhibition attracted more than 70,000 visitors, an unprecedented number for a modern artist. After all, Japan's recent opening to the West with the Meiji Renovation had stimulated a great cultural curiosity towards Europe. That same year he took part in the First Salon of Japanese Painters at Galerie La Renaissance and he chaired the committee for the Art Japonais: école classique contemporaine show at the Musée du Jeu de Paume in Paris.Foujita was effectively an artist suspended between two worlds, masterfully capable of inhabiting and bridging them both. Nu assis stands as a testament to this new blended aesthetic language, harmonising Eastern technique and Western canonical subject matter. At the beginning of the 20th Century, the nude had emerged as a symbol of artistic evolution and renewal, inspiring many contemporary artists to infuse their creative flare into the genre. This included renowned figures such as Henri Matisse, Pablo Picasso, and Amedeo Modigliani, all personally close to Foujita. His originality resided in a graphic technique previously unseen in the Western tradition of oil painting. The precise and delicate outlines of the present figure echo the traditional Japanese sumi-e style. The ink was applied by Foujita using a menso, the thinnest brush in traditional Japanese painting. This fine black line defines the border between the woman's opalescent skin and the pearly background, obtained using a technique Foujita called nyuhakushoku (chalk white, or literally 'milky whiteness'), typical of Japanese lacquerware designs. The mesmerising quality of this iridescent and smooth fond blanc (the exact composition of which he never disclosed), made his late 1920s and early 1930s works to be his most sought-after. Beyond pure technical concerns, the serenity of Foujita's calligraphic line marks an innovative aesthetic language, where the almost monochromatic nude emits an aura of purity and silence. Within this stillness, the model's body seems to pulsate, acting on the viewer's sense of touch. The artist's outstanding draughtsmanship and colourism are evident in the intricately detailed depiction of the model's wavy hair, casting a golden halo around her face. The vibrant muscular quality of her body, in conjunction with the marble-like surface, evokes that same sculptural conception of painting famously defining the oeuvre of Michelangelo (1475-1564), one of the Renaissance masters that Foujita idolised. His fascination with the classical nude can be traced back to his years as a copyist at the Musée du Louvre. One cannot help but notice the resemblance of Foujita's Nu assis to Rembrandt's Bathsheba at her bath (1654), which still hangs within the Louvre, having also inspired artists such as Pablo Picasso, Edgar Degas and Paul Cézanne. The present model's relaxed pose, with her nude torso twisting suggestively toward the viewer as she rests upon her left hand, her thighs outstretched across sensuous white drapery, appear to evoke a direct reference to Rembrandt's Bathsheba. Like her predecessor, Foujita's sitter's face is gently framed with copper-coloured hair, as her surroundings suspend her in an almost dreamlike atmosphere, like a sacred apparition. In this, Foujita achieves a deep assimilation of the finest tradition of Western painting by accomplishing a renewed conception of the nude suffused with melancholy and complexity of thought.Such introspective depiction of the female body also stems from Foujita's profound connections with women, testified to by his lifelong dedication to immortalising them in his art. Experiencing the loss of his mother at just five years old, he received close care and attention from his sister, her friends, and the family's female servants, towards whom he developed a deep personal affinity. Over the course of his life, all five of his wives would pose nude for his paintings. These devoted female models were able to infuse his work with a renewed vitality: 'I use models not only to produce my works but above all the way that food nourishes the body. Also like food, I have tried to absorb as much nutritious substance from them as possible' (Foujita quoted in S. Buisson, Foujita, Inédits, Paris, 2007, p. 127). While most of these pieces are cropped below the breasts, navel, or pubic area, the present work stands out due to its more extensive portrayal of the body, marking it a sublime and daring example of the celebrated 'milky white' nude series.Nu assis was acquired by Foujita's dealer, Colette Weil, directly from the artist and it has remained in the same family collection for almost a century, coming now to the market for the first time. It is a portrait of timeless modernity, where the forms of European Art are encased in a faithfully Japanese outline - a masterful example of the artist's unique capability of transcending the dichotomy between western canon and oriental aesthetics.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A framed Henri Matisse (French 1869-1954) "Nu Assis, Jambe Croisées II, 1941-42" print, published by Edition Hazan, in a glazed black painted wooden frame. (99cmx67cm)

MATISSE (H), JAZZ, facsimile of the original 1947 edition, translated by Sophie Hawkes, with d.j., George Braziller, 1983, with slip case and original box (1)

Derrière le Miroir. Folge von 242 (von insgesamt 253) Nummern in 197 Heften. Mit ca. 750 überwiegend farbigen Lithographien (meist Orig.-Lithographien). 38 x 28 cm. Orig.-Hefte. Paris, Maeght, Dezember 1946 - August 1982.Annähernd vollständige Reihe mit den Original-Lithographien der bedeutendsten Künstler der Ecole de Paris. Es erschienen insgesamt 253 Nummern von denen hier vorhanden sind: 1-43, 46-49, 50-56, 62-65, 69-124, 127-241, 243-252. Besonders erwähnenswert sind die Ausgaben folgender Künstler: Georges Braque (4, 85/86, 115, 132, 138, 144/145/146, 166), Joan Miro (14/15, 29/30, 87/88/89, 123, 151/152, 164/165, 169, 186, 193/194, 203, 231), Marc Chagall (27/28, 147, 182, 198, 225, 235, 246), Alberto Giacometti (39/40, 65, 98, 127), Henri Matisse (46/47), Wassily Kandinsky (77/78, 118, 154, 179), Francis Bacon (162), Eduardo Chillida (174, 183) und die Ausgaben "10 ans d'édition" (92/93), "Chagall, Braque, Leger, Tal, Coat, Miro, Calder" (121/122), "Blauer Reiter" (133/134).Folgende Ausgaben des "Derrière le Miroir" sind doppelt vorhanden: 94/95, 98, 111. - Vereinzelt mit winzigen Gebrauchsspuren, insgesamt wohlerhaltene Reihe. - Dabei: I. Bram van Velde. 10 Bl. Mit zahlreichen teils farbigen Abbildungen. 31,5 x 23 cm. Illustrierte OBroschur. Zürich, Maeght, 1976. - II. Aki Kuroda. Rencontre par Pascal Bonafoux. 35 S. Mit zahlreichen teils farbigen Abbildungen. 33 x 23 cm. Illustrierte OBroschur. Paris, Maeght, 1986. - III. Raoul Ubac. Galerie Adrien Maeght. 16 Bl. Mit zahlreichen farbigen Abbildungen. 33 x 24 cm. OBroschur. Paris, Maeght, 1986.

Küppers, P. E. (Vorwort). Französische Malerei bis 1914 und Deutsche Künstler des Café du Dôme. Gemälde - Graphik. 20 Bl. Mit mehreren blattgr. Abbildungen. 20 x 14,5 cm. Illustr. OBroschur (etwas gebräunt und leicht fleckig). Hannover, Kestner-Gesellschaft, (1919). Katalog der XXVII.-XXVIII. Sonderausstellung im vierten Quartal 1919 der Kestner-Gesellschaft. Gezeigt wurden u. a. Werke von Gauguin, van Gogh, Monet, Braque, Bonnard, Cézanne, Delaunay, Dérain, van Dongen, Dufy, Ensor, Laurencin, Léger, Manet, Matisse, Rousseau, Pissaro, Signac, de Vlaminck, Vuillard - außerdem 18 Werke von Pablo Picasso. - Gut erhalten.

Matisse, Henri. - Duthuit, Georges. Une Fête en Cimmérie. 51 S., 1 Bl. Mit einer Original-Aquatinta sowie 12 Illustrationen von Henri Matisse. 26 x 18 cm. Illustr. OKart. mit OPergaminusmchlag. (Paris), Fernand Mourlot, 1964.Monod 4146. - Eines von 50 römisch nummerierten Exemplaren (Gesamtauflage). Die Illustrationen nach Lithographien von Matisse, die bereits im Jahr 1949 entstanden. Es sind Porträts von Inuit, die eine längere Dichtung von Georges Duthuit, dem Schwiegersohn von Matisse, illustrieren. Für seine in einfachen Linien gezeichneten Inuit-Gesichter wurde Matisse inspiriert durch die Porträtfotografien in Knud Rasmussens Buch 'Across Arctic America'. - Sehr gutes, frisches Exemplar.

Artist: Henri Matisse (French, 1869 - 1954). Title: "Visage de femme [#1]". Medium: Ink and brush drawing on paper. Date: Composed c.1930s. Dimensions: Overall size: 5 9/16 x 4 7/8 in. (141 x 124 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $25,000/35,000Lot Note(s): Hand-signed in ink, lower right. Drawn on pale cream wove paper. Fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Henri Matisse during a meeting of the two in 1953. They met at the Café de l’Hotel Negresco, Nice, France. The noted Italian author, art dealer, and art collector Urbano Quinto acquired a number of drawings from Basquiat, Haring, and Warhol as well as other Pop, Graffiti, and Contemporary artists, directly from the artists in the 1970’s – 80’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson); Matisse image copyright © Succession H. Matisse, Paris /Artists Rights Society (ARS), New York. [30610-2-1000-NR]

Artist: Henri Matisse (French, 1869 - 1954). Title: "Visage de femme [#2]". Medium: Ink and brush drawing on paper. Date: Composed c.1930s. Dimensions: Overall size: 7 5/8 x 4 11/16 in. (194 x 119 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $25,000/35,000Lot Note(s): Hand-signed in ink, lower right. Drawn on pale cream wove paper. Fine condition. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Henri Matisse during a meeting of the two in 1953. They met at the Café de l’Hotel Negresco, Nice, France. The noted Italian author, art dealer, and art collector Urbano Quinto acquired a number of drawings from Basquiat, Haring, and Warhol as well as other Pop, Graffiti, and Contemporary artists, directly from the artists in the 1970’s – 80’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson); Matisse image copyright © Succession H. Matisse, Paris /Artists Rights Society (ARS), New York. [30612-2-1000-NR]

Artist: Cy Twombly (American, 1928-2011). Title: "Untitled [1985 #2]". Medium: Crayon and stylus drawing on paper. Date: Composed 1985. Dimensions: Overall size: 5 1/4 x 7 1/2 in. (133 x 190 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $25,000/35,000Lot Note(s): Hand-signed in crayon, verso. Drawn on cream wove paper. Very good to fine condition; slight horizontal creasing upper margin; lower left corner crease; else fine. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Cy Twombly in 1985 at the Caffè Greco, via dei Condotti, 86, Rome, Italy. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Edwin Parker "Cy" Twombly, Jr. was an American painter, sculptor and photographer. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Twombly image copyright © The Cy Twombly Foundation. [30602-2-1000-NR]

Artist: Cy Twombly (American, 1928-2011). Title: "Untitled [1985 #4]". Medium: Crayon and pencil drawing on paper. Date: Composed 1985. Dimensions: Overall size: 4 5/8 x 5 1/8 in. (117 x 130 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $10,000/15,000Lot Note(s): Hand-signed in pencil, verso. Drawn on smooth cream wove paper. Very good to fine condition; a few very minor soft handling areas in the paper, not visible recto. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Cy Twombly in 1985 at the Caffè Greco, via dei Condotti, 86, Rome, Italy. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Edwin Parker "Cy" Twombly, Jr. was an American painter, sculptor and photographer. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Twombly image copyright © The Cy Twombly Foundation. [30601-2-1000-NR]

Artist: Cy Twombly (American, 1928-2011). Title: "Untitled [1985 #3]". Medium: Felt tip pens drawing on paper. Date: Composed 1985. Dimensions: Overall size: 5 3/16 x 7 5/8 in. (132 x 194 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $30,000/35,000Lot Note(s): Hand-signed in felt tip pen, verso. Drawn on smooth cream wove paper. Fine condition with no issues to report. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Cy Twombly in 1985 at the Caffè Greco, via dei Condotti, 86, Rome, Italy. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Edwin Parker "Cy" Twombly, Jr. was an American painter, sculptor and photographer. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Twombly image copyright © The Cy Twombly Foundation. [30603-2-1000-NR]

Artist: Cy Twombly (American, 1928-2011). Title: "Composition [Cycles #2 - 1985]". Medium: Crayon drawing on paper. Date: Composed 1985. Dimensions: Overall size: 7 3/4 x 4 9/16 in. (197 x 116 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $20,000/25,000Lot Note(s): Hand-signed in crayon, verso. Drawn on cream wove paper. Based on the placement of the signature and the image in the Letter of Authenticity we believe that this is a vertical composition; the sheet has been trimmed at a vertical angle to the lower right; we believe the trimming was done deliberately and before the composition was rendered. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Cy Twombly in 1985 at the Caffè Greco, via dei Condotti, 86, Rome, Italy. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Edwin Parker "Cy" Twombly, Jr. was an American painter, sculptor and photographer. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Twombly image copyright © The Cy Twombly Foundation. [30605-2-1000-NR]

Artist: Cy Twombly (American, 1928-2011). Title: "Composition [Cycles #1 - 1985]". Medium: Crayon drawing on paper. Date: Composed 1985. Dimensions: Overall size: 4 3/4 x 6 in. (121 x 152 mm).Pricing:   Starting Price: $1,000  Reserve Price: No reserve  Auction Sale Price Estimate: $25,000/30,000Lot Note(s): Hand-signed in crayon, verso. Drawn on cream wove paper. Fine condition with no issues to report. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Cy Twombly in 1985 at the Caffè Greco, via dei Condotti, 86, Rome, Italy. A noted Italian author, art dealer, and art collector, Quinto acquired over the years dozens of works on paper as gifts from artists he knew, including Matisse, Warhol, Twombly, Basquiat, and Haring. The original Letter of Authenticity by Mauro Urbano pertaining to this work accompanies the lot. Comment(s): Edwin Parker "Cy" Twombly, Jr. was an American painter, sculptor and photographer. Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson). Twombly image copyright © The Cy Twombly Foundation. [30604-2-1000-NR]

⊕ (i) DOVES; (ii) EMBRACING COUPLE; (iii) HARP WITH BRANCHESall lithographs(i) 20.5 x 25.5cm; 8 x 10in47 x 51.5cm; 18 1/2 x 20 1/4in (framed)(ii) 17 x 26.5cm; 6 3/4 x 10 1/2in 43 x 51.5cm; 17 x 20 1/4in (framed)(iii) 23.5 x 27cm; 9 1/4 x 10 1/2in 47 x 51.5cm; 18 1/2 x 20 1/4in (framed)(3)Property of a LadyMatisse completed 128 lithographs to illustrate Florilege des Amours de Ronsard, published in Paris by Albert Skira in 1948 in a numbered edition of 300, plus 20 Hors Commerce, the present three prints are from HC IX / XXProvenanceCaroline Wiseman, Londonoffered for sale without reserve Qty: 3

Artist: Henri Matisse [imputée] (French, 1869 - 1954). Title: "Tête de dame". Medium: Pen and ink drawing on paper. Date: Composed c1940. Dimensions: Overall size: 12 x 9 in. (305 x 229 mm).Pricing:   Starting Price: $4,000  Reserve Price: N.A.  Auction Sale Price Estimate: $6,000/8,000Lot Note(s): Hand-signed in ink, lower right. Drawn on pale cream textured wove paper. Good to very good condition; the only issue is some foxing-like staining in the image, most probably removable through simple conservation. Comment(s): Matisse was known for both his use of color and his fluid and original draughtsmanship. He was a printmaker and a sculptor, but is known primarily as a painter. Image copyright © Succession H. Matisse, Paris /Artists Rights Society (ARS), New York. [30510-1-4000-NA]

Artist: Aleksandr Yakovlevich Golovin (Russian, 1863 - 1930). Title: "Set Design". Medium: Mixed media (watercolor, gouache, pen, pencil). Date: Composed c1910-20. Dimensions: Image size: 11 x 16 in. (279 x 406 mm).Pricing:   Starting Price: $6,000  Reserve Price: N.A.  Auction Sale Price Estimate: $8,000/10,000Lot Note(s): Signed with the initials "A.G." in Cyrillic on the support mount, lower right, recto. Painted on supple wove paper. Overall condition very good to fine. The drawing is affixed to the original support mount. The drawing itself has no holes, tears, foxing, etc. The colors are very fresh. There is some minor surface soiling middle left, else just very nice. Comment(s): Works by Golovin of this caliber are rare. Aleksandr Golovin studied at the Moscow College of Painting, Sculpture and Architecture initially as a student of architecture and later as a painter. He lived and worked in Moscow as an interior painter, furniture designer and decorator tradesman, and in 1900, in collaboration with Konstantin Korovin, he designed the interior décor of the Russian Empire pavilion at the Paris World’s Fair. Golovin moved to St. Petersburg in 1901, where he worked prominently as a stage designer until the Russian Revolution of 1917. He was the leading designer for the theaters in St. Petersburg at this time, and an important contributor to the legendary Ballets Russes, which commissioned the most esteemed choreographers, dancers, musicians and stage designers of the era, including Natalia Gontcharova, Mikhail Larionov, Marc Chagall, George Braques, Joan Miró, Max Ernst, Henri Matisse, and Pablo Picasso. Please note: this work is being exhibited in an exhibition frame and is being sold unframed. [18217-4-6000-NA]

After Henri Matisse, Six Oiseaux From Florilége Des Amours De Ronsard, lithograph, 27cm x 37.5cm 

COPLEY, WILLIAM NELSON1919 New York - 1996 Key WestTitel: Lady Be Good. Datierung: 1953. Technik: Öl auf Leinwand. Maße: 114 x 162cm. Bezeichnung: Signiert und datiert innerhalb der Darstellung in der Kette: CPLY. Bezeichnet verso am Keilrahmen: LADY BE GOOD. Rahmen/Sockel: Rahmen. Wir danken Herrn Anthony Atlas, William N. Copley Estate, New York, für die freundliche, wissenschaftliche Unterstützung.Die Arbeit wurde später unter dem Titel "Reclining Nude" ausgestellt.Provenienz:- Sammlung Kasper König, Berlin (direkt vom Künstler)Ausstellungen:- Galleria Montenapoleone, Mailand 1954- Kunsthalle Bern 1980 (Etikett verso)- Centre Pompidou, Paris 1980/1981 (Etikett verso)- Stedelijk Van Abbemuseum, Eindhoven 1981- Badischer Kunstverein Karlsruhe, 1981- Kestner Gesellschaft, Hannover 1995- Aargauer Kunsthaus, Aarau 2000 (Etikett verso)- Bonnefantenmuseum, Maastricht 2009- Museum Frieder Burda, Baden-Baden 2012- Max Ernst Museum, Brühl 2012/2013- The Menil Collection, Houston 2016- Fondazione Prada, Mailand 2016/17- Paula Modersohn-Becker Museum, Bremen 2017/18Literatur: - Ausst.-Kat. William N. Copley, Musée national d'art moderne Centre Georges Pompidou Paris/Kunsthalle Bern, Bern/Stedelijk Van Abbemuseum, Eindhoven 1980, Kat.-Nr. 14, Abb.- Ausst.-Kat. William N. Copley: Heed Greed Trust Lust, Kestner-Gesellschaft, Hannover 1995, Abb.- Ausst.-Kat. Exile on Main St., Bonnefantenmuseum, Maastricht 2009, Abb.- Ausst.-Kat. Copley, Museum Frieder Burda, Baden-Baden 2012, Abb.- Ausst.-Kat. William N. Copley, Fondazione Prada, Milan and The Menil Collection, Houston 2016, Abb.- Ausst.-Kat. Schlaf: Eine Produktive Zeitverschwendung, Paula Modersohn-Becker Museum 2017, Abb.- Ausst.-Kat. William N. Copley: The Coffin They Carry You Off In, ICA Miami, Miami 2019, Abb.- Omlin, Sibylle (Hrsg.): Das Gedächtnis der Malerei, ein Lesebuch zur Malerei im 20. Jahrhundert, Köln 2000, S. 392, Abb.Nach einer kurzweiligen Phase als Galerist widmet sich der Amerikaner William N. Copley (1919-1996) in den 1950er Jahren ganz seiner Tätigkeit als Künstler. Als Autodidakt verschreibt er sich hauptsächlich der figurativen Malerei und arbeitet gänzlich autonom, unabhängig jeglicher kunsthistorischen Kategorien, wie dem zu seinen Lebzeiten aufstrebenden abstrakten Expressionismus. In seiner Arbeit verflechten sich Humor, Erotik, Sozialkritik sowie Motive der Kunstgeschichte und Literatur zu einer exzeptionellen Bildsprache. Sein Stil lässt sich durch Themen der Popkultur wie der Darstellung von Frauen, Sex, Patriotismus und Automobile als auch durch seinen prägnanten Malstil, nämlich klare Konturen und einen leuchtenden flächigen Farbauftrag, definieren. Durch die Verwendung aktueller Themen verleiht Copley seinen Werken einen hohen Grad an Aktualität und stellt schon früh erste Tendenzen in Richtung Pop Art her. Die Reduktion auf die wesentlichen Konturen und der daraus resultierenden stark an den Comicstil angelehnten Bildsprache erhöht für Copley die Aussagekraft seiner Bilder.Surrealistische BezügeBeeinflusst von der surrealistischen Kunst sind auch Copleys Werke darauf angelegt bestehende Erwartungshaltungen der Betrachter auf die Probe zu stellen. Schon zu Beginn seiner Karriere erhält er für seine Malerei zahlreiche positive Resonanzen aus den Reihen seiner Vorbilder wie Max Ernst, Man Ray und Marcel Duchamp, zu denen er in Zeiten seiner Arbeit als Galerist Kontakt knüpft. Kurz nach Aufgabe seiner Galerie in Beverly Hills zieht es Copley daher Anfang der 1950er Jahre nach Paris, wo er unter dem Einfluss der surrealistischen Avantgarde seine sogenannte "private mythology" entwicklet. Ein Formenrepertoire aus dem er für seine gesamte Karriere schöpfen wird. Hier etabliert er vor allem Motive wie die männliche Figur mit Melone, in Anlehnung an Magritte, weibliche Aktdarstellungen, wie der Prostituierten, sowie Polizisten und Automobile. Neben seiner Tätigkeit als Maler ist Copley auch Sammler und trägt im Verlauf der Jahre eine der beeindruckendsten internationalen surrealistischen Kunstsammlungen zusammen.Lady Be Good, oder: Reclining NudeIn dieser Zeit entsteht auch sein Werk "Lady Be Good" von 1953, das unter anderem 2016 auf der größten Copley-Retrospektive ausgestellt wird. Organisiert wird sie von der Fondazione Prada in Mailand in Kooperation mit The Menil Collection in Houston. Das Werk kommt als Geschenk des Künstlers in den Besitz Kasper Königs: "Copley gave me a painting as a present once, a nude that is strongly reminiscent of Henri Matisse [Reclining Nude, 1953]. There's something charming and awkward about it, but it is also a true masterpiece. It is a nude on a mattress without sheets. The buttons of the mattress are like spiders. The woman's armpit hair is painted in the same way as this mattress decor. In the top left corner there's a bidet shimmering through-he had overpainted it, but it came through again ... it is now covered, but for this reason maybe more visible than before. Somebody said to me that Copley was told to overpaint the bidet in the picture because it was regarded as indecent in America- which is indeed possible in the face of its puritan culture-which is an interesting, speculative assertion. The picture possesses a certain innocence and naiveté. It is about a male gaze, but it by no means excludes the female gaze." Mit der Darstellung einer Prostituierten bezieht sich Copley auf die kunsthistorische Tradition der Kurtisanendarstellungen wie sie bei Manet oder Pablo Picasso vorzufinden sind und die die weibliche Figur stets zwischen Lustobjekt und Sündenbock einordnen. Auch lassen sich in "Lady Be Good" gestalterische und kompositorische Parallelen zu Vertretern wie Pierre Klossowski herstellen. Make Love not WarDie "unknown Whore" ist ein wiederkehrendes Motiv in Copleys Ouvre. Der Künstler der den sexuellen Hedonismus von pornografischen Stigmata befreien will, nimmt sich häufig das Motiv der Sexarbeiterin zum Thema, dem er 1966 eine ganze Ausstellung "Projects for Monuments to the Unknown Whore" widmet. Die Herabwürdigung und das gleichzeitige Fetischisieren der Prostituierten lehnt Copley in seinem Werk ab und fügt dem stigmatisierten Motiv einen ironischen Unterton zu: "Here the reclining nude is not the object of a disinterested aesthetic sensibility, and there is the suggestion of laughter at the idea that a reclining nude ever was". Der Gesellschaft ihre primitivsten unterdrückten Triebe vorzuhalten und sie aus erstarrten Denkmustern zu befreien bleibt ein permanentes Anliegen des Künstlers. Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog William Nelson Copley USA Surrealismus Pop Art Nachkriegskunst Unikate 1950er Rahmen Akt Gemälde Öl Frau

▲ George Gault (1916-2001) 'Still Life: Flowers & Matisse'inscribed with title and dated '1996' verso, oil on canvas laid on board60 x 50cmCondition ReportFramed: 82 x 72cmNot viewed out of glazed frame. Some surface dirt and abrasions. Please contact department for detailed report.

Eight books on art. Including Paul Klee Watercolours, Drawings, Writings, Thames & Hudson 1958; Marc Chagall, Lionello Venturi, Pierre Matisse Editions 1945, limited edition number 1952; Il Disegno Italiano Contemporaneo, Raffaele Carrieri, Enrico Damiani, limited edition number 346; Graham Sutherland, Ambassador, London first edition 1950, etc.

HENRI MATISSE, Portrait signed and dated in the plate, lithograph, numbered edition 2000 French distressed frame, 31cm x 22cm.