Registration No: UO 6944 Chassis No: 259167 MOT: ExemptSubject to a full restoration during the 1980sSupplied with an extensive history file that includes a buff logbook and many period documentsConverted to utility specification by Whiteway’s Cider in period and eligible for historic commercial vehicle eventsMorris Motors began in 1912 when bicycle manufacturer, William Morris, moved on from the sale, hire and repair of cars to car manufacturing. He planned a new light car assembled from bought-in components; in this way he was able to retain ownership by keeping within the bounds of his own capital resources. A factory was opened in 1913 at the former Oxford Military College in Cowley, Oxford, where Morris's first car, the two-seat Morris Oxford 'Bullnose' was assembled. Morris Cowley was a name given to various cars produced by the Morris Motor Company from 1915 to 1958. In 1926, the Bullnose radiator was replaced by a flat version known as the ‘Flatnose’ and built by Morris until 1931.First registered on the 31st May 1928, 'UO 2944' was built as a two-seat Tourer with dickey which was converted within the first few years of its life into a very pretty utility vehicle by Whiteway's Cider of Exeter. Fitted with its smart wooden pickup back, it was used regularly to transport bags of apples from the orchard to the pressing factory. It subsequently was transferred into the ownership of a local doctor and remained in his custodianship for over fifty years and was used to travel the length and breadth of the country - with a number of house moves between Devon and London recorded in the buff logbook on file. In 1980, and now in a rather dilapidated state, it was donated to a charity auction in aid of a local church and was sold to a Morris enthusiast who carried out an extensive, ground-up restoration which is documented via a set of photographs. After restoration, it became a regular sight at numerous Bullnose Morris Club events throughout the 1980s and featured in a number of the club magazines. Offered for sale in 2002, our vendor (who owns a number of Morris Oxfords and Cowleys) bought the vehicle via auction and has maintained the car himself ever since, attending a number of events including the London to Brighton Commercial Vehicle Run, where it was greatly received. In the vendor's words, mechanically it is in 'good fettle' and starts up very easily with all functions working as intended. The bodywork is still in a very respectable condition, with aging that is expected from a 40 year old restoration and the interior is in 'very good' condition, with the Blue leather seat suiting it very well. The mohair hood, also now 40 years old, is somewhat faded but appears in overall 'fair' condition. Now ready for a new, loving owner, 'UO 6944' is ready for enjoyment and will surely give many years of happy driving and should turn heads with its interesting history. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
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Registration No: PUI 3831 Chassis No: SAJJNADW3DB170271 MOT: July 2024Current ownership for c.8 yearsFitted with TWR style bumpers and rear spoilerFinished in light Blue complemented to a Cream leather interiorLaunched in 1975, Jaguar's XJS was never envisaged as a direct replacement for the E-Type. More of a soporific grand tourer than an out-and-out sports car, it was designed to seamlessly blur borders rather than blast down back roads. To this end, it was equipped with automatic transmission as standard. Although, when fed the quoted 295bhp and 318lbft of torque developed by a post-1981 H.E. (high efficiency) 5.3 litre V12 engine, this still resulted in a claimed top speed of 150mph and 0-60mph in less than eight seconds. Introduced at the 1988 Geneva Motor Show, the long-awaited full convertible version featured a reinforced floorpan, frameless doors and sophisticated electric hood (complete with heated glass rear window). Underpinned by the same all-round independent coil-sprung suspension and power-assisted rack and pinion steering as its Fixed Head Coupe siblings, the soft-top came with anti-lock brakes as standard. Priced at some £40,000, a waiting list was quick to form.First registered on the 23rd May 1990, finished in light Blue complemented to a Cream leather interior with a Blue hood, this XJ-S has resided in current ownership for some 8 years. This Convertible example of the XJ-S marque is fitted with the period TWR-style bumpers and rear spoiler, evoking the motorsport heritage of the XJ-S. It is being offered with an MOT certificate into July 2024 and current V5C is present. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Registration No: 549 GYP Chassis No: 860554 MOT: ExemptOriginally built as a right-hand drive Fixed Head Coupé but was re-shelled as a Roadster during an extensive overhaul in the 1990sSupplied with a history file dating back to 1973 including Green continuation logbookA home market car that has been improved with features such as a full synchromesh 4.2 E-Type gearboxOwned by the vendor since 2018 and maintained regardless of costPLEASE NOTE:This lot has a fault with the electric hood which is not functioning. The fault is believed to be with the control module but this has not been confirmed.Famously launched at the 1961 Geneva Salon, the Jaguar E-Type created a furore on its debut and has become one of the most iconic designs in automotive history. With its stunning looks, outrageous performance and accessible price tag, the newcomer left rivals reeling and customers clamouring. While early competition success in the hands of Graham Hill and Roy Salvadori among others helped cement its reputation on the racetrack, the list of celebrity owners ensured its cult status on the roads. Built as a monocoque with an engine cradling front sub-frame a la D-Type, the model's combination of all-round independent suspension, rack-and-pinion steering and four-wheel disc brakes gave excellent road-holding and handling capabilities. Fed by triple SU HD8 carburettors and topped with a 'straight port' DOHC cylinder head, its 3781cc straight-six engine was quoted as developing some 265bhp and 260lbft. Allied to a four-speed Moss gearbox, the free-revving unit reputedly enabled the E-Type to sprint from 0-60mph in 6.9 seconds and onto 150mph – figures the press cars certainly managed even if the standard ones couldn’t quite! Seemingly borrowed from a light aircraft, the wonderful turned aluminium centre console that adorned its cockpit was complemented by scalloped 'Dunlopillo' seats and a wood-rim steering wheel. Achingly beautiful yet viciously quick, the sublime E-Type remains for many the ultimate production Jaguar.Understood to have been manufactured in 1962, chassis 860554 was purportedly first registered in July 1964. Built as a UK Market, right-hand drive Fixed Head Coupé in Blue. Little is known of the early history of the E-Type until 1973, when it was under the custodianship of Hardings Motors Ltd of London Road, Leigh-on-Sea. The car was purpotedly sold to a local gentleman by Hardings - a Mr. J.I. Gilmore of Church Road, Shoeburyness and then through the hands of a number of owners (one as far away as Plymouth) before it was apparently laid up until the 1980s. By this point, it is understood that '549 GYP' was bought by a Gentleman who was ex-Jaguar who deemed it necessary to overhaul it. For whatever reason (either increasing values of Roadsters particularly or a very rotten FHC shell) the car was re-shelled as a Roadster during this extensive overhaul which included painting the new bodywork in Sherwood Green and trimming the interior in tan leather to full 1964 3.8 Litre E-Type specification including the vinyl covered centre console. The 3.8 Litre engine unit was also overhauled around this time and it is believed that the fully synchromesh gearbox from a 4.2 Litre car was fitted to improve the driving experience in place of the original Moss gearbox. Having been in the ownership of two other enthusiasts since this period, the owner (who owns a number of fine Jaguars) bought '549 GYP' in 2018 to 'cover for' his other E-Type whilst it was away being restored and has enjoyed a number of long trips and rallies with the car. The car has been maintained exceptionally within the vendor's ownership, who describes it as being 'ready to go anywhere' as it is in 'very good' order mechanically. The history file backs up these claims and includes a number of service receipts and invoices for shotblasting and repainting the inside of the bonnet and headlamp bowls and the fitment of a Lucas 123 distributor. Now, with a driveway and garage filling up with a number of 'Big Cats', including his original E-Type that is back home from restoration, it is time for this iconic vehicle to find a new, loving home.On our inspection, we were greeted with the pleasing sight of the Sherwood Green paintwork with Black Mohair hood, which the present owner describes as being in 'very good' order, having stood up remarkably well given that the overhaul was completed in 1995. The Tan Leather upholstery has also worn with an attractive patina which is to be expected from nearly 30 years of loving ownership. However, please note that if you are of the opinion that everything must be of concours standard, it will need some amount of work to arrive to that level. The car started remarkably quickly when we visited the car with the note of the legendary twin-cam straight six resembling a purr through a fresh looking stainless steel exhaust system.Presenting the perfect opportunity to own a 3.8 Litre Series 1 E-Type Roadster at a much lower premium than a more original car might, this Jaguar would make a fantastic drivers' car for anybody who can overlook a six-digit number stamped on a chassis plate - after all, just look at it! For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: FRB 418L Chassis No: 5917T MOT: ExemptCurrent ownership for some twenty-two years1 of just 12 Marcos GTs with the Triumph 2500cc engineNotably improved during the vendor's ownershipExtensive chassis enhancementsMarcos was founded in 1959 by Jem Marsh and Frank Costin, and it was Costin's earlier work on the De Havilland Mosquito that led to the newcomer's first monocoque chassis being constructed from marine plywood. The later Luton-built versions benefited from less radical styling by Dennis Adams and were powered by a range of Ford engines. Nine Xylons and 13 Luton Gullwings saw the light of day, many of which were raced - light and nimble, they were very successful; especially in the hands of Jackie Stewart, Jackie Oliver and Marsh himself. Costin left the company in 1961, following which all design matters fell to Dennis Adams and his brother Peter, and it was their GT of 1964 that really put Marcos on the map. By 1969 the famous wooden chassis had been usurped by a more conventional steel one, and by 1971 Ford V6 power had been exchanged for that of the Volvo straight-six engine widely used until Marcos was forced into liquidation in 1972.Chassis 5917T was manufactured in 1972, being first registered on the road on the 21st of August that year. One of just twelve GTs fitted with the Triumph 2.5-litre straight-six engine allied to a four-speed manual transmission with overdrive, the Marcos is finished in Red paintwork with Black vinyl interior upholstery and has a Black sunroof. In previous ownership from 1992, the Marcos is understood to have received either a full replacement (non-Marcos) chassis or extensive chassis repairs, which appear to be of a better quality than the original. Acquired by the vendor in 2002, the Marcos was running (albeit poorly) and requiring improvement when purchased.The vendor then provided the Marcos with an engine overhaul including changing to twin SU carburettors from Strombergs and thereafter used ‘FRB 418L’ regularly for around five years. Gradually improved across the vendor's ownership, the Marcos has benefitted from bodywork improvements, paintwork throughout including the underside of the bonnet and boot, changes to enhance the usability including better headlamps and the inclusion of indicator and wiper sticks onto the steering column, a new fuel tank, and re-trimmed sunroof. Starting readily and both running and driving well during our photography session, the Marcos has been used for shows and events but has seen minimal use since the lockdown.Supplied with previous MOTs and tax discs, old photographs, and a current V5C document, the Marcos is accompanied by the original alloy wheels. Showing some 79,500 miles on the odometer, the Marcos has two former keepers recorded on the V5C document. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: WL 369 Chassis No: 151057 MOT: ExemptRestored during the 1960s and hardly used since, although recommissioned and kept in ready-to-use condition by the vendorSubject to a full engine overhaul within recent yearsDesirable two-seat tourer with Dickey seatIntroduced during 1913, the basic Morris 'Bullnose' design lasted until 1926 by which time its variants accounted for an impressive forty-five percent of new car sales in the UK. Compared to domestic and foreign rivals in the 12hp-14hp market, the model offered notably good performance courtesy of its torquey, four-cylinder engines and light yet robust leaf-sprung chassis. As well as having its engine enlarged from 1548cc to 1802cc for 1923, the more expensive Oxford derivative gained a longer wheelbase and four-wheel brakes two years later.Pleasing supplied with its original bill of sale, this charming Morris Oxford has an extensive history file dating all the way back to the 1920s and its buff log book displaying a number of previous owners - and still retains its original registration number. Understood to have been subject to ground up restoration during the 1960s when vintage cars were back in fashion thanks to clubs such as the VSCC - WL 369 was then painted in Plum over Black as it presents in today, used until the early 1970s and then laid up. The vendor took ownership of the car in 2013 and a previous owner had attempted to unseize the engine, although this had displaced a bore liner in the process. The vendor undertook a full engine overhaul with a Morris specialist and ensured the rest of the car was mechanically sorted. Sadly, in his 10 years of ownership the vendor has not used the car on the road at all, although has ensured it is in fine fettle throughout, and has therefore decided that it is time for this fine little car to find a new, loving home. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: YP 3916 Chassis No: 12651 MOT: ExemptIn current ownership for some thirty yearsTwo-seater coachwork with dickie seatBrakes relined and magneto overhauled in the last couple of yearsThe AC model made famous by The Hon. Victor Bruce’s win in the 1926 Monte Carlo RallyPLEASE NOTE: Since the catalogue went to press, we have been informed that the first Aceca had a single, passenger door only.It is therefore thought that this lot is a Royal Two-Seater with Dickey model. Although AC’s reputation was established by John Weller’s highly advanced overhead-camshaft six-cylinder engine fitted to this example, which offered 15.7bhp and 75mph in period, its early offerings relied on proprietary four-cylinder engines. The AC Six chassis featured quarter-elliptic springing front and rear, a three-speed gearbox in unit with the rear axle and worm final drive. Front-wheel brakes were optional at first, standard issue from 1927. Rated at 12hp for taxation purposes the four-cylinder AC remained in production until 1926, the firm relying exclusively on the Weller 15.7hp six thereafter. The Six took its place in history at the hands of AC works driver, The Hon. Victor Austin Bruce’s, achieving an outright win at the 1926 Monte Carlo Rally.Chassis 12651 was manufactured new in the year of The Hon. Victor Austin Bruce’s Monte Carlo Rally win, 1926, being supplied new to the United Kingdom and first registered on the 16th of July that year. Fitted with two-seater coachwork with dickie seat, the AC is presented in the attractive colour combination of British Racing Green paintwork with Black wings, and complementary Green interior upholstery. It is accompanied by its full weather equipment (hood, tonneau, and sidescreens) trimmed in Black, and features a three-speed box and rear brakes. Purchased from a friend of the vendor, who had owned the Six since 1988, the vendor acquired ‘YP 3916’ in 1994 and has used the car on several runs and rallies including touring the Cotswolds.Coming off the road in 2020, following the lockdown, the AC has remained off the road since and will therefore require a degree of recommissioning before pressing into use again. Despite this, during this period 12651 has benefitted from relined brakes and an overhauled magneto. The vendor informs that he believes the AC is ‘very good throughout mechanically’ and therefore only a light recommissioning should be required. Offered with a current V5C document showing just three former keepers, ‘YP 3916’ with the famous Weller’s six-cylinder engine is a very usable 1920s car and would be a great recommissioning project. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: T.B.A Chassis No: 74000965C MOT: ExemptFinished in Burgundy with Stone and with a Light Grey leather interiorOriginal service book and Rover Owner’s Instruction ManualA spare set of tyres, interior woodwork, factory spot lamps and spares includedCredible 22,700 miles recorded on the odometerPLEASE NOTE: Upon the successful sale to a UK buyer a V62 will be completed with a view to a new V5c document being issued by the DVLALaunched in Autumn 1962, the Rover P5 was conceived to stave off increasingly refined competition from the likes of Jaguar and Mercedes-Benz. Available in Saloon and later Coupe guises - both of which employed four doors - the big Rover was the luxuriously-equipped with independent torsion-bar front suspension, a leaf-sprung 'live' rear axle and disc/drum brakes. The initial 3.0-litre OISE straight-six engine was a development of the one used by its P4 stablemate (the production runs of the two models over-lapped), and automatic transmission, overdrive on the manual, and Burman power steering were all optional, with overdrive becoming standard from May 1960.Finished in Burgundy with Stone and with a Light Grey leather interior, chassis 74000965C was first registered on the 10th of August 1964, to the first owner, Maurice Langridge of Brentwood, Essex, before passing into the ownership (not stamped on the RF60) of a Raymond Langridge, Sawbridgeworth, Hertfordshire, at an unknown date, but likely within the same family.Currently Southern Ireland registered the Rover's previous UK registration number was 'EWC 443B' which will hopefully be re-issued. A service book with the following entries: Eastern Automobiles of Chelmsford at 1,166 miles on 8.10.1964; at 3,033 on 16.3.65; at 6,597 on 20.10.65; at 9,363 on 19.9.66; at 11,737 on 20.6.67 and with JD Vehicle Services, Middlesex at 16,659 on 18.4.00; 19,101 at 19.5.05. The P5 is offered with a number of old tax discs, a Rover book pack with the Rover Service book, Rover Distributors and Dealers book, Rover Service Guide and Warranty book, Rover Owner’s Instruction Manual and the old buff logbook and Eire/Ireland Registration Document. A spare set of tyres, interior woodwork, factory spot lamps plus spares are included in the sale and a new exhaust has been fitted. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Registration No: NNB 259G Chassis No: 1R8948 MOT: ExemptDesirable 'matching numbers' example with just 12,000 recorded milesFinished in its original colour combination of Primrose Yellow paintwork with a Black leather interior and Black hoodLong-term previous ownership (thirty years)Recent new mohair hood and full repaintOffered with Heritage CertificatePLEASE NOTE: This lot now has a saleroom estimate of £50,000 - £60,000.Interested parties should note that with the minimal use the E-Type has seen, a degree of recommissioning should be anticipated.Triumphantly unveiled at the 1961 Geneva Motor Show, the Jaguar E-Type created a furore thanks to its supercar performance, stunning looks and modest price tag. Early racing success at the hands of Graham Hill and Roy Salvadori amongst others helped cement the newcomer's reputation. Built as a monocoque with an engine cradling front sub-frame, the E-type's combination of all-around independent suspension and disc brakes allied to rack-and-pinion steering resulted in excellent roadholding and handling capabilities. The indomitable straight-six XK twin-cam engine supplied abundant power. If the design had an Achilles' heel then it was the recalcitrant Moss gearbox. However, Jaguar was quick to correct this shortcoming with a four-speeder of its own design just part of a continual programme of E-Type development that saw the model metamorphose through three Series. Introduced in August 1968, the Series II cars were distinguishable by their revised bumper and light arrangements. Less noticeable was the increased size of the front air intake that in conjunction with dual cooling fans made the Series II better behaved in hot weather and heavy traffic. With its 4235cc engine developing a quoted 265bhp and 283lbft of torque, it was reputedly capable of nearly 150mph and 0-60mph in 7.5 seconds. Available in open two-seater, Fixed-Head two-seater and Fixed-Head 2+2-seater guises, the American market accounted for the vast majority of Series II production. 8,627 open two-seaters made were made.Chassis 1R8948 was dispatched to British Leyland, New York on the 3rd of May 1969, and was finished in arguably the best E-Type colour combination of Primrose Yellow paintwork with complementary Black leather interior trim and a Black hood – pleasingly the same livery in which the car is very smartly presented today. Among the accompanying history file is a document from the Illinois-based keeper who purchased the Jaguar in 1987 from the previous owner who had purchased the E-Type as a retirement fund and thus had scarcely used ‘1R8948’ with a view of maintaining its value. Retaining the Jaguar from 1987 to 2014, the document details his tenure; including the long periods of storage that account for the car's incredibly low mileage, as well as extensive improvements.Repatriated in 2014, the E-Type is now offered with just 12,067 miles on the odometer, making this 55-year-old matching numbers E-Type barely run in! At some stage, it has benefited from having its power-strangling Stromberg carburettors replaced by a trio of UK specification SUs, and having been converted to right-hand-drive. In current ownership since 2019, the vendor has again scarcely used the E-Type to maintain the low mileage. Offered with a Jaguar Heritage Certificate; reproduction handbook and workshop manual; a collection of invoices and a current V5C. Clearly the subject of ongoing maintenance over time, 'NNB 259G' boasts a previously retrimmed interior; brake and suspension overhaul including new bushes; a new mohair hood, exhaust system and Michelin tyres. The Jaguar was also repainted as recently as 2018. Surely one of the lowest mileage E-Type examples extant! For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: OEJ 665 Chassis No: A-AV8/13582 MOT: ExemptThe subject of restoration work in recent yearsSome £4,500 of parts purchaseFront disc brake conversion and other uprgadesOriginal owner's manual and a collection of spare parts includedIntroduced in 1956, the Austin A35 could be had as a two- or four-door saloon, two-door Countryman estate or Van. The latter became a familiar sight the length and breadth of the UK serving tradesmen and delivery drivers alike. Powered by three different A-Series OHV four-cylinder engines during its twelve-year production life, the diminutive commercial was surprisingly fun to drive thanks to the provision of independent front suspension, a well-located hypoid rear axle and hydraulic drum brakes. With so many worked into the ground, survivors are comparatively few and far between.First registered in the UK on 9th October 1962 and destined for Evans Motors Limited, Camarthen and then likely, Lloyd Motors, Aberayron (dealer sticker on the car) for Thomas Davies of Treberfedd Farm, Lampeter, and just 1 former keeper is recorded on the V5C. Accompanied by a BMIHT certificate, in 2020, the owner has taken the time to put the van back on its original 1962 issued registration number ‘OEJ 665’, as recorded manually in a copy of a local authority ‘Record of Motor Vehicles’ on file.In recent years the van has been the subject of restoration work to bring the condition back to a usable and conserved condition. There are many invoices on file for parts purchased at a cost in excess of £4,500, many from ESM Morris Minors Ltd. In 2021 and 2022, amongst the items supplied: the front horseshoe, a new rear bumper, wheel bearings rocker and sump gaskets, rear chassis legs, poly bushes, rear hangers, back axle hub and pinion seal, gearbox front cover and a clutch kit. Additionally, work on the braking system included the rear brake frame cylinder assembly and a front disc brake conversion.The engine received new big ends and mains, pistons and rings, thrust bearings, oil and water pumps, a duplex timing chain, a spin-off oil filter conversion, alternator conversion, alloy radiator, leads, plugs, points, a reconditioned exchange unleaded cylinder head, fuel pump, pipes and SU carb filters. Body panels purchased from ESM included front and rear panels, kick and sill panels. Inside there is an aftermarket rev counter, map light and a modern radio unit. Accompanying the little van are a couple of period Austin books, collection of spares and a current V5C. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
John Currin (b. 1962)The Jackass. ClambakeLithograph printed in colours, 2006, signed and dated in pencil, numbered from the edition of 50, as included in the portfolio In The Darkest Hour There May Be Light, co-published by the Serpentine Gallery and Other Criteria, London, on wove paper, with full margins, sheet 420 x 297mm (16 1/2 x 11 3/4in)
YIANNIS MORALIS (1916-2009)Eroticon signé en grec et daté '1988' en bas au centre; signé et daté 'Yiannis MORALIS / 1991 / Athènes/ Grèce' au revershuile sur toile 166 x 115 cm. (65 3/8 x 61in.)signed in greek and daté '1988' lower centre; signed and dated 'Yiannis MORALIS / 1991 / Athènes/ Grèce' on the reverseoil on canvasFootnotes:Provenance Private collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1992, no. 6 (illustrated in the exhibition catalogue and on the exhibition poster).Thessaloniki, ZM Gallery, Moralis, Summer 1992 (illustrated on the exhibition poster).LittératureSima magazine, no. 7, March-April 1992, p. 26 (illustrated). Arti magazine, no. 10, June-July 1992, p. 247 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 248 (illustrated).Alevevan magazine, no. 7-8, January 1993, p. 19 (illustrated).I Would Like to Give you my Heart Forever, Zita-Mi 1955-2010, Thessaloniki 2010, p. 98 (shown on the 1992 exhibition poster).M. Emmanouil, History of Art from 1945 in Five Chapters, Kapon Editions, Athens 2013, p. 51 (illustrated).Moralis seeks a geometric ideogram for love.M. Lambraki-PlakaThis fascinating work was included in the artist's 1992 solo exhibition in Athens. When the show opened it created a stir. In his review—one of the most insightful essays ever written on Moralis—Professor D.N. Maronitis noted: 'I visited the Zoumboulakis Gallery the morning after the opening, before the spots, which often seem like interrogating the paintings with their intense light, were lit. And suddenly I saw Moralis's works looking out with their clear vision, dominating with their proud solitude. His paintings take us directly to the wondrous world of pure vision, which emerged, however, from the world of touch. That's a way to somehow explain the geometry of bodies and colours that constantly abstract and are abstracted to reach their final shape and immutable tone.'¹Reviewing the show, art critic V. Karaiskou noted: 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'² Demonstrating solid structure, purity of form, disciplined rhythm, harmonious proportions, and ingenious interplay of gently flowing curves, Eroticon achieves a striking balance between physical passion, lyrical feeling and intellectual thought. As Nobel Laureate Odysseus Elytis once noted, 'Moralis was always driven by a longing for the monumental, bestowing even on his most sensual conceptions a feeling of mystery and a Biblical sense of the sacred. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'³ True to his classical Greek heritage and yet utilising a formal vocabulary balanced to the scale of modern sensitivity, Moralis sought the realisation of a classical ideal, the discovery of a universal measure for logos and pathos. 'Moralis uses abstraction to isolate the core of human existence, to create through his art a language of symbols. He paints the Aegean Sea, the isle of Aegina, the union of human bodies: evocative forms that echo age-old memories, freed from the burden of their physical existence.'⁴By focusing on the essential, Moralis expresses what is permanent and universal. 'In his fragmented and elliptical figures and in the wealth of his linear compositions and chromatic statements, he neither describes nor narrates but expresses and interprets the forces of creation. Above all else, his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and transcendental.'⁵ ¹. D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima newspaper, March15, 1992. ². V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.³. O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. ⁴. Y. Bolis, Yannis Moralis [in Greek], Ta Nea editions, Athens 2007, p. 79.⁵. C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34.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
FOTIS KONTOGLOU (1895-1965)Sans titre signé en grec en bas au centrehuile sur bois 32,3 x 26,5 cm. (12 11/16 x 10 7/16in.)signed in Greek low centreoil on woodFootnotes:Combining Byzantine and Post-Byzantine iconographical and pictorial conventions with a deeply-felt religious sentiment and a pronounced sense of the spiritual, Kontoglou sought to breathe new life to 20th century Greek art by re-baptizing it in the invigorating waters of folk tradition and Orthodox faith. His passionate campaign had a decisive influence on Greek artists and especially on the exponents of the legendary 1930s generation. Here, the flat rendering of space, absence of chiaroscuro, otherworldly light, earthy colour, and schematisation of form build up a balanced composition of inner rhythm, while the disciplined design and delicate modelling evoke a mood of austerity and penitence, lending the protagonists a restrained and dignified appearance. 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
MICHALIS ECONOMOU (1888-1933)Chapelle avec des cyprès signé 'M.Economou' en bas à gauchehuile sur flanelle61 x 50cm (24 x 19 11/16in).Peint c. 1927.signed 'M.Economou' lower leftoil on flannel laid on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureA.Kouria, Michalis Economou, Adam editions, Athens 2001, no. 115, pp. 256-257 (catalogued), p. 165 (illustrated).Evocative flames of dark green flare from the earth against an animated sky, echoing Van Gogh's famous cypresses.¹ This mesmerizing work probably dates after 1926, the year Economou returned to Greece from France, and was most probably completed in 1927, when he had his second personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'² Critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis.³In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by art historian A. Kouria, who prepared the artist's monograph, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the pines and cypresses seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks.'⁴ 'The cypress tree, a favourite motif of Symbolist painting charged with Romantic overtones, appears in Economou's art as a symbol of his inner self and his strongly subjective response to external world stimuli; it becomes a vehicle of the feeling he wishes to communicate through his art.'⁵¹. Compare V. Van Gogh, Road with cypresses, 1890, Kröller-Müller Museum, Otterlo. Van Gogh was fascinated by cypresses as natural equivalents of architectural forms. He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. ². Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125.³. See Kouria, Michalis Economou, p. 125. ⁴. Ibid, pp. 108-113.⁵. Michalis Economou, The Alchemy of Painting, exhibition catalogue, E. Averoff Museum of Modern Greek Art, Metsovo - Evangelos Averoff-Tossizza Foundation, 2023, p. 155.For further information on this lot please visit Bonhams.com
CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com
NICHOLAOS GYSIS (1842-1901)Stilleben, Nelken signé 'N. Gysis' en bas à gauchehuile sur toile 77 x 63 cm. (30 5/16 x 24 13/16in.)signed 'N. Gysis' lower leftoil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsBerlin, Landes-Ausstellungsgebäude, Grosse Berliner Kunst-Ausstellung 1893, May 14 - September 17, 1893, no. 529 (listed in the exhibition catalogue, p. 36).LittératureThe Greek Painters, vol. 1, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 156 (mentioned).Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to Date, Pierides Foundation edition, Thessaloniki 1992, p. 64 (mentioned).Gyzis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 36 (shown in a photograph with the artist in his studio, c. 1899).Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 101 (mentioned).Against a dark backdrop, comparable to still lifes by Boudin and Manet, Gyzis juxtaposes an alluring bouquet of carnations placed casually in a tall glass vase. Apparently, he is not interested in creating an opulent arrangement that would dazzle the viewer with its meticulous naturalistic detail, abundance of material, and wide range of hues. Instead, by assigning a leading role to the light falling on the flower heads, he seeks through stark contrast and glowing colour to capture freshness and delicacy and achieve a unified and dramatic effect. The red, white, and pink blossoms are dashed off with perfect assurance that the artist's brush will suggest both tactility and featheriness, convey the essence rather than the appearance of the subject, and deliver a perfectly balanced floral composition that bursts with life.For further information on this lot please visit Bonhams.com
NIKOS ENGONOPOULOS (1907-1985)Poète et villageois signé en grec et daté '65' en bas à droitehuile sur toile 55 x 45cm. (21 5/8 x 17 11/16in.)Peint en 1965. signed in greek and dated '65' lower right oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, National Gallery and Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 62 (listed in the exhibition catalogue, p. 44).LittératureEleftheros Kosmos newspaper, March 29, 1981 (illustrated). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 689, pp. 317, 469 (illustrated).I am a Greek along with the familiar images that surround me.N. EngonopoulosCaptured in dazzling Byzantine colours, flooded with light, and bathed in a translucent atmosphere of clarity and glow, this signature Engonopoulos is imbued with a genuine and deep-felt sense of Greekness. Everything here, from the two figures¹ in tunics who convey a feeling of archaic immobility, to the bright blue sky dotted with travelling clouds, to the ancient temple perched on a rocky outcrop, and the ubiquitous coffee house table and straw chair, is conceived with a centuries-old Greek sensibility. The artist boldly declares that this archetypal environment is a stunning presence, while the sea is actually never far away, reaching into the shore like a friendly hand.As noted by art historian N. Loizidi, 'Engonopoulos gave us one version of surrealism, universal, but at the same time deeply rooted in Greekness.'² In a similar vein, S. Boulakian points out that 'the lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element. Engonopoulos's work emulates Greece's natural environment, a setting that both frames and accentuates human activity.'³In Poet et villageois, colour, a key element throughout Engonopoulos's artistic career, has a leading role. The glittery, enamel-like reds, yellows, blues, and greens are applied side by side on the canvas without tonal gradations, inviting the viewer to a festive ritual of purity. As noted by art critic M. Gyparaki, Engonopoulos is a dedicated coloriste, adhering to a long and rich Greek tradition that goes way back to the Homeric epics, a world full of colours that are bound with natural elements, human acts and everyday objects.⁴ ¹. The seated figure wears a ring on his index finger, essentially identifying with Engonopoulos himself who used to wear a characteristic ring on the same finger. See D. Menti, Faces and Masks [in Greek], Gutenberg editions, Athens 2007, pp. 135-136, note 34. See also Chartis review, no. 25-26, November 1988, p. 172.². N. Loizidi, Surrealism in Modern Greek Art [in Greek], Athens 1984, p. 181.³. S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century [in Greek], Melissa editions, Athens 1974, p. 261.⁴. See Nikos Engonopoulos, Drawing or Colour [in Greek], Ikaros editions, 2007, p. 126.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
THEOFILOS HADJIMICHAEL (1871-1934)Le maréchal du Péloponnèse Theodoros Kolokotronis pigments naturels sur mur contrecollé sur toile 181 x 177 cm. (71 1/4 x 69 11/16in.)natural pigments on wall mounted on canvasFootnotes:ProvenanceD. Taktikos collection, Mytiline.Private collection, Athens.ExpositionsAthens, Hellenic American Union, An Exhibition of Murals and Paintings by Theophilos, March 17 - April 10, 1970 (listed in the exhibition catalogue, no. 26).LittératureD.A. Kokkinos, History of Modern Greece, vol. I, Mellissa editions, Athens 1970, p. 375 (illustrated).A national treasure, this monumental work which pays homage to a giant of the 1821 Uprising, is one of the few surviving wall paintings by Theofilos, rescued from decay and destruction, and transferred onto panel from its original wall in a village on the island of Lesvos (Mytilene). Leading military hero of the War of Independence, Theodoros Kolokotronis (1770-1843) was a tough klephtic chieftain and a remarkable individual committed to the idea of freedom. Celebrated writer Nikos Kazantzakis described him as a true leader of the Greek race: he had faith, optimism, tenacity, valour, a certain practical mind, and a deceptive versatility, like Odysseus. He had both impulse and restraint, he knew how to retreat so that he could advance; hemmed in by enemies he was forced to mobilise all his bravery and wile so that the race would not be lost.¹ Victor over two large Turkish armies—at Valtetsi and Dervenakia—he achieved legendary status and laid the foundations for the successful outcome of the long struggle for independence. Here, Kolokotronis is presented on horseback in full regalia, recalling the artist's representations of Byzantine Emperor Constantine Palaiologos or Alexander the Great. This correlation shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory as a form of eternity constantly reborn. The Greek hero is wearing his signature British Napoleonic helmet with gold-plated bronze decorations, which dates from the time he was serving under the command of Richard Church in the 1st Regiment Greek Light Infantry in the Ionian Islands (1810-1816). He's also sporting the characteristic fustanella kilt—the same white highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute.The iconography is based on Lazaros Sochos's famous equestrian statue of Kolokotronis which was awarded a gold medal in Rome in 1900. The horseback hero does not have the passive or indifferent posture usually associated with equestrian statues. He is not portrayed as a triumphant conqueror but, rather, as a true leader of his people showing them the way forward.²The inscription at the upper left, reading 'the field-marshal of the Peloponnese Theodoros Kolokotronis from 1827 to 1830,' reflects the painter's desire to provide a full description of his subjects by leaving nothing obscure. This piece of information is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectator's imagination the world of gallantry and legend they are invited to contemplate. ¹. See N. Kazantzakis, Travels in Greece (Journey to the Morea), London 1966. See also P.H. Paroulakis, The Greeks: Their Struggle for Independence, Hellenic International Press, Australia, 2000.². See C. Christou, M. Kouvakali-Anastasiadi, Modern Greek Sculpture 1800-1940, Commercial Bank of Greece edition, Athens 1992, p. 62.For further information on this lot please visit Bonhams.com
GEORGIOS JAKOBIDES (1852-1932)Petite fille lisant signé 'G. JAKOBIDES' en haut à gauche huile sur toile 52,5 x 39,5 cm. (20 11/16 x 15 9/16in.)Peint c. 1882. signed 'G. JAKOBIDES' upper leftoil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, May 20, 2008, lot 22. Acquired from the above sale by the present owner.ExpositionsMunich, Münchener Kunstverein exhibition, 1882.LittératureThe artist's notebook 1878-1919, no. 7 (mentioned) [Lesendes Mädchen, 1882].Neueste Nashrichten newspaper, August 31, 1882 (discussed).Bayerishher Kourier newspaper, September 2, 1882 (discussed).Deltion tis Estias magazine, no. 298, September 12, 1882 (discussed).S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 239 (listed).Dictionary of Greek Artists, vol. 4, Melissa editions, Athens 1976, p. 140 (listed).O. Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, no. 52 (catalogued, p. 337, discussed, p. 72, and illustrated, p. 71).Dictionary of Greek Artists, vol. 2, Melissa editions, Athens 1998, p. 36 (mentioned).Georgios Jakobides Retrospective, exhibition catalogue, National Gallery and Alexandros Soutzos Museum, Athens 2005, p. 145 (mentioned), p. 146 (discussed), p. 156, fig. VIII (illustrated). H. Iakovidou, A. Iakovidou, Inside the Picture, Adam editions, Athens 2005, p. 25 (illustrated).A great example of Jakobides's finest work, Petite fille lisant is a museum-quality jewel by this quintessential Greek painter of young children. As noted by the late Director of the National Gallery in Athens M. Lambraki-Plaka, 'Jakobides was one of the most sensitive and at the same time perceptive painters who delved into childhood's psyche. This insightful psychologist and keen observer of human nature was also an unsurpassed draughtsman. This rare combination enabled him to render what he saw and felt with unmatched verisimilitude.'¹ In her monograph on the artist, art historian O. Mentzafou-Polyzou discusses the work at length: 'In 1882, Jakobides exhibited Girl reading at the Munich Art Society, receiving favourable comments for both its subject and style. A young girl holds a newspaper with utter seriousness and pretends to read in imitation of adult behaviour, directing her gaze through a pair of eyeglasses perched on the tip of her nose. The painter lends the figure a commanding presence through meticulous observation and detailed description. The fine handling of detail in the girl's garments and the concentration of light and shadow effects on her face and hands endow the picture with a sense of genuineness and lively presence.''Without abandoning the narrative, humoristic aspect of kindermalerei, in this work Jakobides closely adheres to realist principles in the vein of W. Leibl's² truthful figuration, a kinship promptly noted by contemporary critics: 'The painting Petite fille lisant exhibited by Jakobides is very attractive and beautiful. The harmonious unity of effect and the excellent draughtsmanship are reminiscent of the subject matter and style of the famed Leibl. The girl is completely absorbed in reading; the viewer forms the impression that, though silent, her glowing lips are vaguely moving. The overall handling is impeccable. Such naturalness should appeal to everybody.'³ And it is not just the supreme clarity of the rendered figure that recalls 16th and 17th Flemish art and can be related to the work of Leibl, nor the painstaking realism in rendering detail, achieved through the concentrated lighting of specific areas, that bring out the work's superior pictorial quality. It is mainly the isolation and presentation of a simple everyday story which stands on its own right without having to depend on complementary themes.'⁴ For Jakobides, childhood hardly ever represented an idealised world. The artist has been recognised as a leading painter of children precisely because he managed to look beyond beautified sentimental stereotypes and capture a wide variety of childhood expressions, from the most contorted, as in Combing Out, to the most subtle and evocative, as in Petite fille lisant.Here, set against a neutral, monochromatic background, rooted in ancient Greek relief sculpture and Byzantine icon painting, which underscores and highlights the young sitter's elegance and simple grandeur, Jakobides produced, with astonishing wealth of detail and tender minuteness of touch, a masterful rendition of the child's expression and facial characteristics. His greatness is reflected in his ability to observe and record not just an expression, not even the slightest change in expression, but the hint of an expression, one that has not yet become but is on the verge of becoming apparent. Without resorting to intense gesticulations, as in the various versions of the Bad Grandson, the artist captured on canvas the essence of childhood's incessant energy lurking under a seemingly cool surface and the subtle juxtapositions between the seriousness of learning and the instinctive tendency towards play. ¹. M. Lambraki-Plaka, 'Georgios Jakobides, the Noble of the Munich School' [in Greek] in Georgios Jakobides Retrospective, exhibition catalogue, National Gallery and Alexandros Soutzos Museum, Athens 2005, p. 12.². Wilhelm Leibl (1844-1900) was a late 19th century German realist painter who exerted a great influence on the School of Munich.³. Deltion tis Estias magazine, no. 298, September 12, 1882, p. 2.⁴. O. Mentzafou-Polyzou, Jakobides [in Greek], Adam editions, Athens 1999, p. 72. See also Mentzafou-Polyzou, 'Jakobides, the Painter of Children' [in Greek] in Georgios Jakobides Retrospective, p. 146.For further information on this lot please visit Bonhams.com
![NAUTICALIA - [SHIP-WRECK INTEREST]. A SINGLE-DRAW TELESCOPE, SPENCER & CO., LONDON the brass tube engraved 'Spencer &](https://cdn.globalauctionplatform.com/fcc382f3-f079-4d09-b444-b10a00e18e13/fd465a85-cd86-436b-911b-b15700c37385/468x382.jpg)
NAUTICALIA - [SHIP-WRECK INTEREST]. A SINGLE-DRAW TELESCOPE, SPENCER & CO., LONDON the brass tube engraved 'Spencer & Co., / London. / Day or Night.' and further inscribed ''Briton' / Lightfoot / Wrecked on the Coast of Cornwall / 20th Nov'r 1850', 88.5cm long (extended; 51cm long compressed). Note: The 'Briton' was a barque that ran aground and was wrecked off Bude, on 20th November 1850, while on a voyage from Quebec City, Province of Canada, British North America, to Gloucester. Its full compliment of twelve crew were rescued utilizing a Manby Mortar line-throwing device. Condition Report : Optically sound; some light denting to tubes. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
ASSORTED DINKY DIECAST MODEL VEHICLES comprising a No.982, Bedford Pullmore Car Transporter, mid blue with a light blue trailer and mid blue ridged/grooved hubs, good to fair condition, boxed, the box good to fair; No.660, Mighty Antar Tank Transporter, olive green with matching grooved hubs, fair condition, boxed, the box fair (lid with one split corner); No.651, Centurion Tank, olive green, fair to playworn condition, boxed, the box good to fair (lid with one split corner); and thirteen further models, circa 1950s, variable condition, generally playworn, all unboxed, (15).
A late 19th century Dutch silver rectangular 'castle top' box, the hinged cover relief decorated with a hunting party before a hilltop castle, the sides and back with trophies of arms, import marks for Samuel Boyce Landeck, Sheffield 1899, 12cm wide, 10.5ozGood overall, there is a small split to the lid right on the edge of the castle, not visible except from the inside or when held against light.
An 18ct gold and emerald necklace by Theo Fennell, of curb link design, with central oval collet-set stone within split shoulder mounts, stamped 'Fennell' verso and 750 to the clasp, length 40.5cmGross weight approx 61.9g.Emerald is approx. 6mm height, 8mm length.Light scratches to flat parts of gold. Overall condition appears good.See condition report tab for additional images.
A pair of diamond cluster earrings, the central old cut stones each of approx 0.4ct within a border of 9 smaller stones, claw set in unmarked white precious metal with wire hoop fittingsWeight 3.5gSize approx 1cm x 1cmLight surface scratches to white precious metal. The central stones are each approx 0.25ct. The stones appear of even colour, and the clarity is good overall.See new photos via the condition report tab.
A pair of silver plated three light candelabra, the detachable branches and knopped stems relief decorated with fruiting vine, another pair of plated three light candelabra, and other plated items to include a 19th century tea caddy of shaped outline, a 19th century oval teapot on stand, a Victorian twin handled tea tray, a pierce-decorated oval dish, and misc other items. (qty)
An 18k gold dress ring, set with a large rectangular smoky quartz stone within pierced raised basket setting, a 14k gold dress ring centred with a cabochon green stone, a turquoise set dress ring, the oval stone in unmarked yellow metal setting of foliate design, and an opal dress ring with unmarked yellow metal mounts. (4)Opal ring size L-M. Weight 5g. Opal size approx 2cm x 1.2cm.Light surface scratches overall.New photos uploaded, please see condition report tab.
A Mexican silver novelty scent bottle, modelled as a seated man, his sombrero forming the cover, stamped 925, 3.3cm high, a silver small heart shaped scent bottle by Penhaligon's, 3.5cm high, and a Continental silver-gilt and enamel scent bottle, with stylised floral decoration in blue, white, red and light blue, 6cm high. (3)
An 18ct gold open face pocket watch, the white enamel dial with Arabic numerals and subsidiary seconds dial, to a keyless wind movement, with London import marks for 1913 and maker’s mark JG to both the case and inner dust cover, case numbered 118027, inner dust cover inscribed ‘Exam’d by Goldsmiths & Silversmiths Co. Ltd. 112 Regents St. London. Swiss’, case diameter 4.8cm Scuffs, nicks and surface wear to dial, with patchy light tarnishing. General surface wear to case, creases and shallow dings to case back, marks have patchy wear. Movement runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 78.6gm (including dial/movement).
An early 20th century open face pocket watch by Movado, the matt yellow metal dial with Arabic numerals and subsidiary seconds dial, to a keyless wind movement, the case and inner dust cover stamped '14k DC 0.585', dial and movement signed, case diameter 4.7cmScuffs, nicks and surface wear to dial, with patchy light tarnishing. Signature to dial is worn. General surface wear to case, creases and shallow dings to case back, marks have patchy wear. Movement runs when wound but is untested for working order, which cannot be guaranteed. Gross weight approximately 54.3gm (including dial/movement).
A ruby and diamond cluster ring, the oval cut ruby within a border of ten collet-set round brilliant cut diamonds, the shaped and pierced shoulders further set with small diamonds, to a 14k white gold shankRing size P. Weight 6.4g.Light gold with light scratches.There is a small flattish chip to the edge of the ruby, otherwise appears to be in good condition.
An emerald and diamond three stone ring, the emerald cut centre stone of approx 1.1ct flanked by a pair of brilliant cut diamonds claw set to a white metal shank, stamped PLA, total diamond weight approx 0.68ctWeight circa 3.4grams.Images in natural light via the condition report tab on the website.Some minor chips/abrasions and scratches to the emerald. Diamonds appears in good condition overall and are each approx 0.2ct
AUGUSTINE GOBLER (RUSSIAN 19TH CENTURY) AND CATERINA CANETTI (20TH CENTURY) PORTRAIT OF A LADY AT HER DESK Oil on canvas Signed and dated '1824' (lower right) 114 x 88cm (44¾ x 34½ in.)Provenance: Sale, Daguerre, Paris, Chine - Livres - Dessins & Tableaux Anciens - Céramique - Argenterie - Mobilier & Objets d'Art - Tapisseries & Tapis, where purchased by Count Manfredi della Gherardesca, 10 November 2016, lot 119 The later addition of a conical nose to the sitter by Canetti was applied after the 2016 sale.Caterina Canetti is a florentine base picture restorer who Count Manfredi approached to embellish the following historical portraits to comical effect. See also lots 314,315 and 346 Condition Report: The canvas presents a subtle craquelure scattered across the whole surface and an uneven varnish. UV light reveals various retouches, most evidently on the upper left corner, next to the right shoulder, where a 15 cm long restoration covers what seems to be an old tear; a similar vertical restoration of about 10cm is also present next to the left border. A crossed restoration, of about 8cm wide is also present on the left of the sitter's head. A few but minor retouches are also present in the background area. Condition Report Disclaimer
A LOW COUNTRIES SILVER MOUNTED BLACK GLAZE POTTERY (TERRE DE NAMUR) BALUSTER COFFEE POT AND COVER NAMUR,LATE 18TH CENTURY 34cm highProvenance: Camille Lagrand, where purchased by Count Manfredi della Gherardesca Condition Report: NOT EXAMINED BENEATH THE MOUNTS.Surface scratches to the body generally, rim chips to the inner section of the cover. Light signs of wear consistent with age and use. Please see additional images available from the Dept. upon request. Condition Report Disclaimer
A GILT METAL ' WISTERIA' WALL LIGHT IN THE MANNER OF HANS KÖGL, CIRCA 1960s With four light sockets 90cm high, 120cm wide, 20cm deep Condition Report: The gilt-metal is scratched, marked, discoloured and worn. Fitted for electricity but buyer will need to instruct a professional electrician to insure the wiring and sockets conform to safety regulations.Condition Report Disclaimer
A BAMBOO, RATTAN, WALNUT AND PART EBONISED 'CHINOISERIE' BREAKFRONT SIDE CABINET BY LA MAISON DES BAMBOUS, FRENCH, CIRCA 1880 with elaborately decorated panels, three drawers and three doors enclosing shelves, labelled 'PERRET & VIBERT PARIS' 108.5cm high, 137cm wide, 54cm deep Founded in 1872 by Ernest Vibert and Robert Perret, La Maison des Bambous initially designed furniture in the fashionable chinoiserie or orientaliste taste, before also trading in Chinese antiques and furniture. Recorded in the Didot-Bottin as a shop of 'meubles et articles de Chine et Japon', they were awarded two medals at the 1889 Exposition Universelle Condition Report: Good, structurally secure with minor general wear and tear. The cabinet is well preserved with barely any apparent loss, the bamboo in good condition, and employing different colours of bamboo and different varnishes to good effect. The walnut and stained or ebonised pearwood top is quarter veneered and shows very light wear. The ebonised surface behind the bamboo filigree with some minor chips and scuffing, all panels behind the doors with vertical shrinkage splits. Some very minor shrinkage between applied bamboo elements, the oak carcase is dry, sturdy and good quality. Engraved `Chinese(?)' inscription to centre left upright. Two keys supplied. Condition Report Disclaimer
JACOB FERDINAND SAEYS (DUTCH 1659-1725/6) A CLASSICAL PORTICO WITH AN ELEGANT COMPANY GATHERED BY A FOUNTAIN Oil on canvas Signed and dated '1694' (lower centre) 94 x 73cm (37 x 28½ in.)Provenance: Sale, Christie's, New York, 7 June 2002, lot 69 Sale, Sotheby's, New York, where purchased by Count Manfredi della Gherardesca, 27 January 2011, lot 285 Condition Report: The canvas has been lined, cleaned and re-varnished. Fine craquelure throughout, with rubbing and abrasions to the framing edges. One or two light surface scratches throughout. Inspection under UV light reveals light scattered retouching and infilling throughout.Condition Report Disclaimer
λ  PIUS FOX (GERMAN B. 1983) TAFEL (PFT 91) Oil on paper laid to board Signed and dated 2013 (verso) 33 x 24cm (12 x 9¼ in.) UnframedProvenance: The Artist Patrick Heide Contemporary Art, London, where purchased by Count Manfredi della Gherardesca 26 June 2013 Condition Report: In good original condition. Some light surface dirt. Condition Report Disclaimer
ITALIAN SCHOOL (18TH CENTURY) VIEW OF A BAY Gouache 46 x 68.5cm (18 x 26¾ in.) Condition Report: The surface of the paper presents various yellowing stains, and a few black dotted dirt spots. UV light reseals a 3cm wide retouch on a section of the sea, near the left border. Condition Report Disclaimer
BILL HENSON (AUSTRALIAN B. 1955) UNTITLED 1998/99 C-type Signed, titled and dated 1998/99 (lower right); inscribed with image number and AP (lower left), aside from the edition of 5 127 x 180cm (50 x 70¾ in.) Provenance: Gift from the artist to Ms. Roslyn, Gallery Oxley, where purchased by Count Manfredi della Gherardesca Condition Report: The work appears to be in good original condition. A couple of very light handling creases to edge of the margin. Unexamined out of glazed frame.Condition Report Disclaimer
DUTCH SCHOOL (18TH CENTURY) A TROMPE L'OEIL AFTER AN ENGRAVED PORTRAIT OF SIR PETER LELY Oil on canvas 35.5 x 25.5cm (13¾ x 10 in.) Provenance: Purchased from Rafael Valls Ltd, London, where purchased by Count Manfredi della Gherardesca, 1 April 2011 After Isaac Becketts's engraving after Sir Peter Lely Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals scattered retouching throughout.Condition Report Disclaimer
ANNA PICHON (FRENCH,19TH CENTURY) PORTRAIT OF MADAME EYQUEM Oil on canvas Signed and dated '1847' (lower right) 144.5 x 101cm (56¾ x 39¾ in.) Unframed Provenance: Sale, Tajan, Drouot-Richelieu, Paris, Tableaux Anciens, where purchased by Count Manfredi della Gherardesca, 25 October 2002, lot 159 The pendant portrait of the husband Jean Eyquem, was sold at Tajan, Drouot-Richelieu, Paris, Tableaux Anciens, 25 October 2002, lot 157 Condition Report: The canvas has not been lined but there are three areas of patching (verso) which correspond with areas of repair (recto). These patches can be seen in the online images. Stretcher marks visible to the edges and the centre of the picture. There is an uneven varnish which is visible in raking light. Some light craquelure throughout but this is largely located at the edges. Rubbing and abrasions to the framing edges, with some spots of associated loss. Inspection under UV reveals some retouching and repair to the aforementioned areas of damage, as well as some further minor retouching scattered throughout. The most significant being some infilling along the centre stretcher mark which passes through the sitters right cheek and can be seen in natural light and online images.Condition Report Disclaimer
MÄRTA MÅÅS-FJETTERSTRÖM (1873-1941) 'NYPONBLOMMAN', RUG DESIGNED IN 1932, EXECUTED AFTER 1941 Handwoven wool on a wool warp, woven with producer's mark 'AB MMF' 302 x 248 cm Provenance: Sotheby's London, where purchased by Count Manfredi della Gherardesca, 17 October 2017, lot 12 Condition Report: overall good clean condition, light natural wear. Weave is tight and the edges are presentCondition Report Disclaimer
NEAPOLITAN SCHOOL (17TH CENTURY) STILL LIVES WITH VINES, MELONS, WATERMELON AND OTHER FRUIT ON A FOREST FLOOR Oil on canvas, a pair 104 x 122cm (40¾ x 48 in.) (2)Provenance: Sale, Blindarte, Naples, where purchased by Count Manfredi della Gherardesca, 19 May 2011, lot 103, as Ruoppolo The Collection of Vittorio and Caterina di Capua, Turin Sale, Sotheby's London, The Vittorio & Caterina Di Capua Collection, where purchased by Count Manfredi della Gherardesca, 8 December 2016, lot 49 Condition Report: Each canvas has been lined and varnished. Light rubbing and abrasions to the framing edges. The still life with the watermelon has a small area of damage (lower right), (approx. 3cm) where there is some associated scuffing and paint loss. Some of the remaining paint around this area has also started to flake. Inspection under UV light reveals scattered retouching and infilling to each canvas throughout. Condition Report Disclaimer
GEORGE HENRY HARLOW (BRITISH 1787-1819) PORTRAIT OF MRS. ROBINSON AND HER SON Oil on canvas 118.5 x 101.5cm (46½ x 39¾ in.) Provenance: Private collection, Euridge Manor, Wiltshire, where purchased by Count Manfredi della Gherardesca Exhibited: Galerie Charpentier, Paris, Cent Portraits de Femmes, 1950 Bernheim-Jeune, Paris, Peintres de Portraits, 1952 Harlow first trained under Samuel Drummond, but after a year entered the studio of Sir Thomas Lawrence, copying his pictures, and occasionally drawing preliminary portions of Lawrence's own productions. While Harlow's portraits are greatly indebted to Lawrence's style, they have a distinct character of their own. He first exhibited at the Royal Academy in 1804 and soon became known for his paintings of actors and actresses, many of which can be found in the Royal Shakespeare Theatre. His work is also represented in important museum collections such as the Victoria & Albert Museum and the National Portrait Gallery. Condition Report: The canvas has been lined and the paint surface is stable. Under UV light there are scattered areas of retouching across the image, most of these appears to be covering paint shrinkage and there is probably a repaired tear on the child's arm. These have all been very well executed and are not visible to the naked eye. The faces appear to be untouched. It has been cleaned and varnished, although there are some very small spots of white paint. Condition Report Disclaimer
λ MARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLE Oil on canvas, oval Signed (lower right) 53 x 43cm (20¾ x 16¾ in.)Provenance: Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited: Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 This work is recorded in the Marie Laurencin Archives.Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940. Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic. Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot. By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938. The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. Condition Report: The canvas has been relined. Evidence of old craquelure visible to the headdress and background. Ultraviolet light reveals infilling to the craquelure in addition to scattered spots of retouching throughout. Please see additional images for further information.Condition Report Disclaimer
STUDIO OF GIOVANNI BATTISTA GAULLI (ITALIAN 1639 -1709) PORTRAIT OF THE CARDINAL MARCO GALLI Oil on canvas 49 x 37.5cm (19¼ x 14¾ in.) Provenance: Moltini, Milan; Acquired from the above by James Irvine, 17 March 1828, in Milan, for 15 Louis (as Domenichino) Gifted from the above, in gratitude for his employment, to Sir William Forbes, 7th Baronet of Pitsligo (1773-1828), of Fettercairn, Kincardineshire, 14 October 1828 By descent to his son Sir John Stuart Hepburn-Forbes, 8th Baronet of Pitsligo (1804-1866) By inheritance to his son-in-law Charles Trefusis, 20th Baron Clinton (1834-1904) Thence by descent Their sale, Sotheby's, London, where purchased by Count Manfredi della Gherardesca, 8 December 2016, lot 161 Exhibited: Edinburgh, Royal Scottish Academy, Works of Old Masters and Scottish National Portraits, 1883, no.187 (as Domenichino, Head of a Nobleman). This portrait exists in at least four published autograph variants by Gaulli: two half-length paintings (London, National Gallery, inv. no. NG6534, and Brianza, Valerio collection), one bust-length (sold Sotheby's, London, 10 July 1974, lot 32), and one three-quarter length, seated (Bucharest, Musée d'Art, inv. no. 8169/203) Condition Report: The canvas has been lined. Craquelure throughout but the paint surface appears stable, despite wearing thin in some places (including to the sitter's head). Rubbing and abrasions to the framing edges. Inspection under UV reveals light scattered retouching throughout, with a more concentrated area of overpaint to the background in the lower left quadrant, possibly covering an old repair.Condition Report Disclaimer
DUANE ZALOUDEK (AMERICAN B. 1931) MILAREPA IV Acrylic on canvas Signed, titled and dated 1967 (verso) 227 x 177cm (89¼ x 69½ in.)Provenance: Galleria Monitor di Paola Capata, Rome, where purchased by Count Manfredi della Gherardesca, 17 June 2015 Condition Report: Some light surface dirt throughout, particularly noticeable to the two white circles at the top. Condition Report Disclaimer
GIOVANNI ANDREA (IL MASTELLETTA) DONDUCCI (ITALIAN 1575-1655) THE TRIUMPH OF DAVID Oil on canvas 64 x 51cm (25 x 20 in.)Provenance: The collection of Paul Ganz, New York Sale, Sotheby's, New York, Important Old Masters, Including European Works of Art, where purchased by Count Manfredi della Gherardesca, 28 January 2010, lot 183Born in Bologna and having begun his artistic training in the Caracci's Academy, Mastelletta developed a highly individualist style that radically differed from his teachers. Building on the stylistic traits of Parmigianino combined with the influence of the 'northern' artists in Rome such as Pieter Lastman, Hendrick Goudt, and Paul Brill, Mastelletta created visionary and dream-like landscapes populated by elongated and elegant figures. The art historian Maurizio Calvesi described him as a 'poet, fragile visionary, fanciful, timid and ardent', a brief description which perfectly renders his uniqueness. The subject and stylistic traits of this painting have much in common with the same themed painting held at the Palazzo Doria, in Rome. It is possible that this work constitutes a modello for the bigger painting, which eventually diverged from its original idea. Condition Report: The canvas has been lined and cleaned, although there is still some surface dirt. Light craquelure throughout. Stretcher marks visible. Rubbing and abrasions throughout. There is a diagonal line of paint shrinkage running just above the front female figure's head (approx. 10cm). Inspection under UV light reveals scattered retouching throughout, and an area of more concentrated retouching at the lower centre by the hilt of the sword, possibly the result of a previous repair.Condition Report Disclaimer
GLYN PHILPOT (BRITISH 1884-1937) GERALD HEARD (1889-1971), HEAD STUDY Oil on canvas-board 46.5 x 31.5cm (18¼ x 12¼ in.)Provenance: The Rowley Gallery Ltd., London Eliot Hodgkin Private Collection, London, where purchased by Count Manfredi della Gherardesca Exhibited:London, Charles Cholmondeley, Romantic & Symbolist Painting & Drawing, 1987, cat. no. 1 Gerald Heard was a friend of Aldous Huxley, W. H. Auden and of Christopher Isherwood who dedicated his novel 'A Meeting by the River' to Heard. He was a follower of the Vedanta movement and wrote a book 'Pain, Sex and Time'. Condition Report: There are four small protrusions to the the board, two along the upper edge, one to the lower right quadrant and another three-quarters of the way down the left hand edge. Ultraviolet light reveals scattered retouching and infilling to the background, edges and corners, including to the aforementioned protrusions. The paint surface has had a light clean and overall the work is in good condition. Condition Report Disclaimer
ENGLISH SCHOOL (17TH CENTURY) THE MIRACULOUS EFFIGY OF HENRICE GARNET (1555-1606) Oil on copper Inscribed and dated 'A° 1606. MIRACULOSA EFFIGIES P HENRICE GARNET ANGLI' (to edge) 9cm (3½ in.) diameterProvenance: J. Kugel Antiquaires, where purchased by Count Manfredi della Gherardesca, 16 March 2016 Saleroom notice: Please note the description has been altered Condition Report: The text reads HENRICE GARNETI. Light surface dirt throughout. One or two light surface scratches. Inspection under UV light reveals some scattered retouching, mainly confined to the background areas, however there is some retouching above the MIR of MIRACULOUS and this can be seen in natural light.Condition Report Disclaimer
FILIPPO NAPOLETANO (ITALIAN 1587-1629) LANDSCAPE WITH A RUINED ARCH Oil on panel 14 x 19.5cm (5½ x 7½ in.) Provenance: Tribune Trading Company, where purchased by Count Manfredi della Gherardesca, 7 December 1999 Condition Report: The panel has been cleaned. Some light surface scratches scattered throughout. Rubbing and abrasions to the framing edges. Inspection under UV light reveals light traces of varnish and some very light retouching along the framing edges.Condition Report Disclaimer
AN ART DECO GILTWOOD SOFA FRENCH, CIRCA 1930 Upholstered in green velvet with three loose cushions, the frame decorated with fluting and flower heads 96cm high, 183cm wide, 92cm deep Provenance: Foster & Gane, where purchased by Count Manfredi della Gherardesca Condition Report: Overall in good condition, structurally secure and with wear and tear consistent with age and use. The are scratches and scuffing throughout, the gilding worn, most obviously on the arms, the carved decoration to the backrail and to leading edges. In places the red bole is visible beneath the gilding and there are odd traces of dark green paint. There are a few deeper dents and scratches, most notably to the back left upright, with white gesso visible. Some minor constructional shrinkage cracks and there are shrinkage cracks to the tops of the back left upright, but with no loss of integrity. The upholstery is clean, just the odd light mark, and the cushions well stuffed. Condition Report Disclaimer
λ KIKI SMITH (GERMAN/AMERICAN B. 1954) CHANDELIER, MOTH & STAR Bronze Width 129cm (50¾in.)Provenance: Timothy Taylor Gallery, 2006, where purchased by Count Manfredi della Gherardesca Condition Report: The work is in overall good condition. It is not sold with the light fittings or wires.Condition Report Disclaimer
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