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Los 292

Wells (H.G.) The Time Machine, first edition, first issue with 16pp advertisements at end including those for 'The Manxman' and 'The Naulahka', light browning to endpapers, otherwise a very clean copy generally, original buckram lettered in purple with Egyptian design to cover, spine a little darkened with light bumping to ends, some faint rubbing to extremities, but a remarkably bright and excellent example overall, [Wells 4], 8vo, 1895.⁂ An excellent example of Wells' most famous work, a cornerstone of any science fiction collection.

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Los 140

Descartes (René) Opera philosophica, 3 parts in 1, third edition, half-title, engraved portrait of the author with printer to reader verso, numerous woodcut illustrations and diagrams, lacking final blank to part 1, part 1 L3 reattached on stub, [Guibert 230; Willems 1196], Amsterdam, Louis & Daniel Elzevier, 1656 bound with Descartes (René) Meditationes de prima Philosophia, 3 parts in 1, general title printed in red and black and with woodcut foliage ornament, woodcut head- and tail-pieces and decorative initials, final f. of part 1 blank, part 2 Q2 small marginal hole at foot, [Guibert 53:7], Amsterdam, Johannes Jansson the Younger, 1658, together 2 works in 1 vol., occasional spotting or mostly light staining, lightly browned, contemporary blind-stamped vellum over boards, lacking backstrip, but holding firm, lacking ties, remains of tape to covers, little marked, small 4to⁂ Rare edition at auction.

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Los 97

Tillemont (M. Lenain de) Memoires Pour Servir a l'Histoire Ecclesiastique des Six Premiers Siecles..., vol. 1-16, engraved printer's device to titles, engraved vignette head-piece to each vol., light foxing, browning, mostly uniform, contemporary calf, spines gilt with red morocco labels, a few vol. with tears at joints, but firm, a few vol. with small chips to spine ends or rubbed at corners, Paris, [Chas. Robustel], 1701-12 § Sully (Maximilien de Bethune, Duc de) Memoires..., 3 vol., half-titles, titles in red and black with engraved vignettes, 2 engraved portraits, woodcut head-pieces and initials, bookplates (Alfred & Blanche de Curzon), scattered instances of minor soiling or spots, contemporary calf, rebacked, wear to corners, g.e., Londres [but Paris], 1745 § Boileau-Despreaux (Nicolas) Oeuvres, 2 vol., half-titles, titles in red and black with an engraved vignette, engraved portrait frontispiece, 6 engraved plates, woodcut head- and tail-pieces, contemporary calf, spines gilt with red morocco labels (1 chipped), a few scratches to covers, light wear to spine ends, Paris, Fabri & Barrilot, 1716; and 3 others, 4to (24)

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Los 293

Wells (H.G.) The Island of Dr Moreau, first edition, half-title, frontispiece, 33pp. advertisements at end, light browning to endpapers, original pictorial cloth, darkened, light surface soiling to lower cover, neat and discrete repairs to spine ends and joints, in effect an excellent copy, [Hammond B3], 8vo, 1896.

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Los 148

Law.- Andreae (Johannes) Quaestiones mercuriales super regulis iuris, collation: a-e10 f g8 h-q10 (a2 signed a), double column, 156 ff., the first and last blank, 49 lines, Gothic type, initials and paragraph-marks in red, occasional early ink marginalia, i1printing flaw to first line of right-hand column, i2 narrow section torn from lower corner of outer margin, not affecting text, some marginal water-staining and finger-marking, some spotting or light staining, contemporary sheep over wooden boards, spine in compartments, later metal clasps, some repairs, including spine, numerous divots / scuffs in leather, rubbed and marked, water-stained, but solid, folio (338 x 236mm.), Venice, Adam de Rottweil, 4 July, 1477. ⁂ A wide-margined copy of the rare fourth edition of this alphabetically arranged commentary on the De regulis iuris of Dinus de Mugello. We can trace no copies of this edition at auction. It is one of the earliest of the few books printed by Adam de Rottweil at Venice between 1476 and 1480, after which time he set up a press at Aquila. Andreae (c.1270-1348) studied law at Bologna, and went on to teach canon law in the same city for the majority of his life. He became the most important canonist of his time; referred to by his contemporaries as 'iuris canonici fons et tuba'. Literature: BMC V, 249; Goff A-637; HC 1058*; Bod-inc A-252; BSB-Ink I-323; GW 1737; ISTC ia00637000.

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Los 120

Haggard (H. Rider) She: A History of Adventure, first edition, first issue, with 'Godness' on penultumate line of p.269, half-title, 2 chromolithographed frontispieces, 2pp. advertisements at end, original covers and spine bound in, frontispiece very lightly offset to title, the odd spot, handsomely bound in polished blue calf by Bayntun, gilt, spine with red and black morocco labels, lightly sunned at extremities, very light rubbing to spine ends and corners, g.e., [Sadleir 1092], 1887; and 8 others finely bound, several with the bookplate of William Foyle, v.s. (9)Provenance of the first: William Foyle (bookplate).

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Los 96

Amsterdam Binding.- Francius (Petrus) Specimen eloquentiae, title in red and black, with early ink initials WJK, small portion torn and repaired with later paper, affecting a few letters, occasional early ink correction or marginalia, some light browning or foxing, contemporary crimson panelled morocco, covers finely tooled in gilt, with intricate design incorporating drawer-handle motif, small flowers, pointelle leafy sprays and small circles, spine richly gilt in compartments, one lettered "Francii Specim Eloque", some rubbing to corners and joints, still a bright and handsome copy, marbled endpapers, g.e., 8vo (binding 102 x 167mm.), Amsterdam, H. Wetstein, 1697.

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Los 281

Rowling (J.K.) Harry Potter and the Philosopher's Stone, first paperback edition, with "Joanne Rowling", no space between "Taylor" and "1997" and full 10 to 1 number line on title verso, "wand" listed twice on p. 53, light spotting to first few pages, usual light marginal toning with occasional faint stain, original pictorial wrappers with misprint "Philospher's" to lower cover, sunning and light creasing to spine ends, very minor wear to corners, still an excellent copy overall, 8vo, 1997.

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Los 176

India.- Crawfurd (John) Journal of an Embassy from the Governor-General of India to the Court of Ava, in the Year 1827... With an Appendix, Containing the Description of Fossil Remains, by Professor Buckland and Mr. Clift, first edition, half-title, 5 aquatint plates, of which 3 hand-coloured, 5 lithographed plates, folding engraved map (light off-setting, and small hole at fold), folding engraved plan, wood-engraved illustrations, some light foxing to plates, map and plan, original boards with paper label to spine, lower joint broken with upper cover and back-strip (together) detached, small chips to label and spine ends, [Abbey Travel 405], 4to, Henry Colburn, 1829.

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Los 111

Vicaire (Georges) Manuel de l'amateur de Livres du XIXe siecle 1801-1893, 22 vol., first edition, one of 50 copies on papier de Hollande, from an edition limited to 1050, titles in red and black, light browning to peripheral ff., the odd spot, original wrappers bound in, handsomely bound in near uniform plum half morocco, by Creuzevault, vol. 22 with binding signed Brugalla, some spines slightly sunned, rubbed at extremities, 4to, Paris, 1894-1920.Provenance: L. Giraud-Badin (pencil inscription Giraud 9-12-33 to vol. 1 rear free endpaper); Isidore Fernandez (bookplate).

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Los 232

Dahl (Roald) Charlie and the Chocolate Factory [and] Charlie and the Great Glass Elevator, 2 vol., first American editions, illustrations, original blind-stamped cloth, dust-jackets, Chocolate Factory jacket lightly stained with 1cm portion of loss to upper joint corner, light staining to upper edge and corners, Glass Elevator very lightly creased at edges, otherwise fine, 8vo, 1964.

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Los 49

Hayward (Sir John) The Lives of the III. Normans, Kings of England, first edition, 2 woodcut decorations on title, other woodcut decorations and initials, bookplate of James Watts, title and first 4 leaves with lower outer corner torn away and repaired, just touching a couple catchwords but without loss, contemporary ink marginalia to R3v, a few ff. with very small worm trace to blank inner margin, light water-staining, particularly towards end, later calf, rubbed at extremities, [STC 13000], 4to, Imprinted...by R.B., 1613.

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Los 79

Shelley (Mary Wollstonecraft) Frankenstein or The Modern Prometheus, frontispiece, toned margins, light foxing to endpapers, original blind-stamped cloth, gilt, spine lightly faded, tips a little frayed, otherwise a good sharp copy of this scarce imprint, 8vo, [c.1890].

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Los 248

Fleming (Ian) Diamonds are Forever, first edition, light spotting to first few pages, original boards with silver diamond to centre, spine lettered in silver, near-fine, facsimile dust-jacket, 1956; From Russia With Love, first edition, original boards with gun-and-rose design to upper cover in bronze and silver, spine lettered in silver and bronze, later state dust-jacket, 1957; and a Book Club edition of the last, 8vo (3)

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Los 173

Greece.- Dodwell (Edward) Views in Greece, from Drawings, first edition, deluxe issue, title with aquatint vignette, 30 superb hand-coloured aquatint plates by R. Havell, T. Fielding, F.C. Lewis and others after Dodwell and Pomardi, plates mounted on thick card with printed captions and imprints on slips pasted to verso of mounts, each with explanatory leaf in English and French, tissue guards, to which offsetting, spotting and browning to mounts, in a few cases affecting plates as well, the same and some light uniform browning to multiple text leaves, contemporary straight-grain red morocco, gilt panelling in line and foliate patterns to corners, gilt dentelles of a vine pattern, covers capped in metal, upper joint broken at ends (but holding in central portion), lower torn at head, wear to extremities, [Abbey, Travel 130; Atabey 357; Blackmer 493; Colas 876; Weber I, 1110], folio, Rodwell and Martin, 1821.⁂ One of the most famous colour-plate books on Greece, and an essential part of any library of Greek monuments and topography. Edward Dodwell (1776/7- 1836), traveller and archaeologist, made several tours of Greece, the first with Sir William Gell in 1801 and another more extensive tour in 1805-6 with the artist Simone Pomardi. Originally issued in parts intended to illustrate Dodwell's Classical and Topographical Tour through Greece of 1819, but the project became too expensive and this selection of 30 plates was issued separately. Provenance: Sir John Wolfe Barry K.C.B [bookplate].

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Los 291

Waugh (Evelyn) Labels, first edition, frontispiece and plates, light foxing and spotting to endpapers and first few pages, endpapers browned, original cloth, spine ends lightly faded, dust-jacket, neatly restored and retouched, in effect an excellent copy, 8vo, 1930.

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Los 230

Christie (Agatha) Ten Little Niggers, first edition, author's cut signature laid down to endpaper, 2pp. advertisements at end, light scattered spotting, original cloth, covers lightly damp-stained, dust-jacket, price-clipped, rather creased and chipped, light retouching with neat tape repairs verso, triangular portions of loss to upper and lower panels, affecting title, short tears along edges, rubbed, 8vo, 1939.

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Los 74

Dickens (Charles) Great Expectations, 3 vol., first edition, fourth issue, without half-titles or advertisements, edition statements neatly erased from titles, small contemporary ink ownership name to vol.1 pastedown, light foxing to titles, original purple blind-stamped cloth, spines lettered in gilt, slight shelf-lean, [Great Expectations (Oxford: Clarendon Press, 1993, Appendix D); Smith 1:14; Sadleir 688; Wolff 1799], 8vo, Chapman and Hall, 1861.⁂ With the text agreeing in all particulars with those identified by Cardwell in her appendix to Great Expectations.

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Los 209

Priestley (Joseph) The History and Present State of Discoveries Relating to Vision, Light, and Colours, 2 vol. in 1, first edition, folding frontispiece and 24 plates, lightly offset, list of subscribers, contemporary ink ownership name to title, contemporary calf, rubbed, rebacked, endpapers renewed, 4to, 1772.⁂ One of the earliest works on optics and the most comprehensive of its time. "Priestley's History of Optics had but one English edition ... it remained the only English work on the subject for a hundred and fifty years and the only one in any language for fifty" (DSB).

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Los 252

Fleming (Ian) The Spy Who Loved Me, original cloth with dagger design to upper cover blocked in silver and blind, spine lettered in silver, spine ends bumped, dust-jacket, light rubbing and fraying to spine ends, light surface soiling, 1962; On Her Majesty's Secret Service, original boards with ski trail design to upper cover, spine lettered in silver, dust-jacket, light toning to spine, ends a little creased, lower panel spotted with surface soiling, 1963, first editions, excellent copies overall, 8vo (2)

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Los 277

[Plath (Sylvia)], "Victoria Lucas". The Bell Jar, "Contemporary Fiction" (second English) edition, author's real name in biro to title, original boards, spine lettered in silver, dust-jacket, light surface marking to lower panel, spine very lightly faded with author's real name in biro, light creasing to extremities, still overall a remarkably bright and crisp copy, 8vo, 1964.

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Los 141

Physiology.- Descartes (René) Tractatus de homine, et de formatione foetus, translated by Claude Clerselier, edited by Louis La Forge, first Clerselier edition, title printed in red and black and with woodcut printer's device, woodcut illustrations, [Guibert 202:6; Krivatsy 3123; Wellcome II, p.453; Willems 1531; cf. G&M 574 (1662 edition)], Amsterdam, Daniel Elzevier, 1677 bound with La Forge (Louis) Tractatus de mente humana, ejus facultatibus & functionibus, nec non de ejusdem unione cum corpore; secundum principia Renati Descartes, first Latin edition, title with woodcut printer's device, a couple of woodcut illustrations in text, [Krivatsy 6554; Willems 1411], Amsterdam, Daniel Elzevier, 1669, together 2 works in 1 vol., red pencil number to upper corner of title of each work, some mostly light water-staining at head, occasional spotting or staining, lightly browned, contemporary calf, spine in compartments, rather worn, but holding firm, small 4to ⁂ I: 'Descartes considered the human body a material machine, directed by a rational soul located in the pineal body. This book was the first attempt to cover the whole field of 'animal physiology'. The work is really a physiological appendix to his Discourse on Method, 1637' (G&M). II: The French philosopher Louis La Forge was a friend of Descartes and one of the most able interpreters of Cartesianism.

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Los 99

Classics.- Lucretius Carus (Titus) De la Nature des Choses, 2 vol., with notes by M. L G [La Grange], half-titles, engraved pictorial title, 6 engraved plates, woodcut head pieces, contemporary red morocco, spines and covers gilt, joints scuffed, Paris, Librarie Bleuet, 1768 § Virgil. [Les Oeuvres de Virgile], 6 vol., translated by Jacques Delille, half-titles, engraved plates, some foxing, contemporary calf, spines gilt with red and green morocco labels, vol. 1 and 4 with some cracking to upper joint foot, light scuffs to corners, Paris, Giguet et Michaud [and Librarie Bleuet], 1804 [-06] § Tacitus (Publius Cornelius) Oeuvres Complètes de Tacite, 6 vol., half-titles, some spotting, viol. 1 p.317 large closed tear, contemporary mottled green calf, spines gilt with red morocco labels, sunned, vol. 5 and 6 with tear and chip at spine ends, some scuffs otherwise, Paris, Librarie Classique de Hachette, 1803; and 5 others, 8vo (19)

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Los 114

Classics.- Plato. Scripta Graece Omnia..., 11 vol., edited by Immanuel Bekker, engraved portrait frontispiece, text in Greek and Latin, school prize bookplate presented to John Wodehouse, vol. 1 with additional bookplate of John Wodehouse III to front free endpaper, occasional light spotting, a few hinges cracked but holding firm, 1826 § Dryden (John) Miscellany Poems, 6 vol., fifth edition, engraved frontispieces, some light browning or foxing, the odd small mark to covers, 1727, frontispieces offset, contemporary polished calf, spines richly gilt in compartments, rubbed at extremities; and others, Classics and literature, v.s. (c.100)

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Los 112

[Combe (William)] The Life of Napoleon, a Hudibrastic Poem in Fifteen Cantos, first edition, hand-coloured aquatint title and 29 hand-coloured plates by George Cruikshank, the odd short tear and a few margins neatly repaired, not affecting text, plate 1 with a few chips and short tears to edges and laid down, once or twice running into image but without loss, some light browning and offsetting, handsomely bound in crimson crushed morocco, gilt, by Rivière & Son, very light rubbing to spine ends and corners, g.e., [Abbey Life 356], 1815; and a copy of Egan's Sporting Anecdotes bound by Rivière, large 8vo (2)

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Los 13

Nelson's copy.- Revolutionary Plutarch (The): exhibiting the most Distinguished Characters, Literary, Military, and Political, in the most recent Annals of the French Republic, vol.2 only (of 4), first edition, Nelson's copy with his inscription on front free endpaper "Nelson & Bronte sent by his friend Richard Bulkeley Esq." , light water-staining, uncut in original boards, lacks backstrip, 12mo, Printed for John Murray, 1804.⁂ Given the date of the book, presumably received by Nelson while on board HMS Victory in the Mediterranean while enforcing the blockade of Toulon.Richard Bulkeley was a friend and correspondent of Nelson, their being old comrades from the San Juan expedition of 1780.The work includes William Allen's Killing No Murder as an appendix. Described as "one of the most singular controversial pieces the political literature of our country has to boast" this tract was originally written by a Royalist in 1657. This, together with the extensive chapters on Napoleon Buonaparte and his family as well as the many other potted biographies of French military and naval figures must surely have been interesting reading for Nelson on board ship as he waited for the French fleet to try to escape the blockade.

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Los 127

Brontë (Charlotte, Emily and Anne) Novels of the Sisters Brontë, 12 vol., "Thornton Edition", edited by Temple Scott, one or two light spots but generally very clean, attractive modern brown half calf, spines gilt with green and red morocco labels, 8vo, Edinburgh, 1924.

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Los 237

Dahl (Roald) The BFG, first edition, signed presentation inscription from the author "to William, with love Roald Dahl" to front free endpaper, original pen drawing of the BFG holding Sophie in his hand, signed by the illustrator, illustrations by Quentin Blake, original boards, spine ends bumped, dust-jacket, spine very lightly faded with one or two very light creases to spine ends, otherwise a fine copy, housed in custom-made morocco-backed drop-back box, 8vo, 1982. ⁂ A fine example, double signed by author and illustrator, with the lovely original drawing by Blake to make this an exceptional copy.

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Los 162

Drawing.- Bloemaert (Abraham) Oorspronkelyk en vermaard konstryk tekenboek, 8 parts in 1, title in red and black with engraved vignette, engraved portrait with ochre chiaroscuro woodblock overprint, 174 engraved plates, of which 8 with ochre chiaroscuro woodblock overprint, manuscript inscription in ink to front endpaper, lacking engraved dedication, some light finger soiling and the odd spot to blank plate margins, a few small marginal tears,contemporary vellum, toned, spine ends and corners a little worn, folio, Amsterdam, Reinier and Joshua Ottens, 1740.⁂ Compiled by Frederik Bloemaert, from his father's drawings and studies, and originally published in 1650 under the title, Artis Apellae Liber. The 1740 edition of the tekenboek includes over forty additional plates, and the chiaroscuro woodblock overlay is a technique in engraving that the Bloemaerts pioneered. Studies of heads, limbs, nudes, children, individual and elaborate figures or groups of figures, scenic representations and animals.

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Los 44

[Heywood (John)] The Spider and the Flie. A parable of the spider and the flie, first edition, woodcut initials and tailpieces, woodcut illustrations (44 full-page, including repeats), lacking initial blanks, title, portrait frontispiece, A² (A2 recto supplied in contemporary manuscript facsimile), the Preface, the Table, Introduction, B2, B4, C1, C3&C4, D2, I4, K-L⁴, Aa1, Aavii2, Aavii3, Aavii4, Bbiiii"², 2C1, [left-pointing hand]Ccii"², [par.][double dagger]Eeiii"², ²"[par.][double dagger]"1-3, 2F4, 2K1, 2Q2 & 2Q3, 2S⁴, final blanks, damp-staining spot to 2D3-2Ff, printer's error to Kk4, corner repaired to [par.][double dagger]2, light damp-staining to margins, modern blind-stamped morocco, [Pforzheimer 469; STC 13308], 4to, by Tho[mas] Powell, 1556. sold not subject to return.⁂ Rare first edition of this early English woodcut work. Standing nearly as long as Milton's Paradise Lost, The Spider and the Fly is an allegorical mock-heroic bestiary in rhyme. It was first printed in 1556 but, according to Heywood's epilogue, was begun nineteen years earlier. The time span between composition and publication may account in part for the generally acknowledge obscurities and inconsistencies of Heywood's political and religious allegory. The poem is allegorical, with spiders standing in for Catholics and flies representing Protestants, yet this strange conceit met with only limited success and so the work was never reprinted, though it was attractively designed and illustrated as noted in Pforzheimer, "...outstanding among English works of the time."

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Los 62

Wollstonecraft (Mary) Original Stories from Real Life; with Conversations, calculated to Regulate the Affections, and Form the Mind to Truth and Goodness, first illustrated edition, copper-engraved frontispiece and 5 plates by William Blake, extra illustrated with an additional plate (?possibly Blake), with 3pp. advertisements at end, book label to pastedown, plates very lightly offset, a few scattered light spots, contemporary panelled calf, spine rubbed, [Bentley 514; Gumuchian 5854; Osborne p.255; Rothschild 2597; Windle A3b], 12mo, for J. Johnson, 1791.⁂ Originally published in 1788 this is the first illustrated edition, with copper-engraved plates by William Blake. Wollstonecraft's only complete work of children's literature, it promotes her views of women's education, most centrally, that in order for women to emerge as rational adults, and thus enrich and greatly improve contemporary society, it was essential to properly educate them as children: "These conversations and tales are accommodated to the present state of society; which obliges the author to attempt to cure those faults by reason, which ought never to have taken root in the infant mind". Preface.

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Los 106

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Paysage signé et daté 'Ghika 80' (en bas à gauche)huile sur toile contrecollé sur panneau17.5 x 29.5cm (6 7/8 x 11 5/8in).Peint en 1980.signed and dated (lower left) oil on canvas laid on boardFootnotes:A lacework of rhythmically orchestrated shapes immersed in a mellow atmosphere and captured in a glowing palette of seductive lilacs, purples, and lavenders, this captivating work shows Ghika's lifelong fascination with the ruined structures and crooked stone walls that inform so much of the rural Greek landscape. Moreover, it reflects the artist's aim in the early 1980s to break away from geometric abstraction and return to a freer, less formal expressive language: his outlines loosen up, the pictorial design becomes more fluent and colour looks fresher thanks to the adoption of lighter tones. Everything seems to participate in a paganistic feast of expressive hues and vibrant, pulsating forms. As noted by Ghika himself, 'every artist who is by nature a colourist bears within him his own harmonies of colour, which are never exactly those of nature but those of his own ideal of nature. In my case, these harmonies are mainly composed of mauves, greys and pinks, but sun-drenched, sun-saturated colours that have at the same time preserved something of the brightness which might have been theirs in a less cruel light.'11 E. Roditi, 'An Interview with Ghika', Charioteer quarterly, vol. 1, no. 2, Autumn 1960, p. 55.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

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Los 15

Nikolaos Lytras (Greek, 1883-1927)Aghios Sozon, Tinos signé en grec (en bas à gauche)huile sur toile56 x 45cm (22 1/16 x 17 11/16in).Peint en 1923.signed in Greek (lower left) oil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, 9 April 2014, lot 6.Acquired from the above sale by the present owner.This wonderful painting was given as a gift by Lytras to his friend, the mozaic artist Polychronis Renieris. In 1923, when he was appointed professor at the Athens School of Fine Arts, Nikolaos Lytras visited Tinos, the native island of his father, the great 19th c. painter Nikiforos Lytras, in search of an interpretative approach to nature and a deeper pictorial truth resulting from powerfully expressive juxtapositions. His fatherland, with its sparse, jugged terrain and sculptural quality of both its natural environment and traditional Cycladic architecture, offered Lytras many pictorial challenges posed by stark contrasts. It should be noted that in all of his Tinos paintings, which represent the culmination of his landscape work, Lytras consistently avoided general or panoramic views of the island's village complexes. Usually, only some scattered structures, identified by their solid, cube-like volumes, are juxtaposed with the wavy lines and flowing rhythms of the natural environment.1Like a white dove on a rocky outcrop ready to fly into the blue cloudless sky, Lytras's dazzling Cycladic chapel captures the power and brilliance of the Aegean archipelago. Vibrant form, painterly, Cezannesque technique and energetic brushwork in the vein of van Gogh support the liberation of properties intrinsic to the medium, asserting the freedom of the artist's pictorial gesture over his original subject. The tactility of the textured surfaces and, especially, the use of thick impasto lend a corporeal presence to the pictorial space. As perceptively noted by A. Kouria who curated the artist's major retrospective at the Athens National Gallery in 2008, 'in Lytras's views of Tinos the very materiality of paint becomes the materiality of the landscape itself.'2 This sense of immediacy and substance is enhanced by the prominence of the foreground rocks, these 'immortal sculptures'3, as Y. Tsarouchis once called them, that eternally define the character of the Greek land, conveying to the viewers an impression of a first-hand experience, as if they were actually part of the landscape. The painting unfolds with upward undulating rhythms like an abstract interplay of successive volumes, welding the rugged terrain and the whitewashed chapel into such a compelling entity that even the artist's signature on the lower left seems organically integrated in the pictorial surface, as if it were an 'indigenous' part of the landscape.1 See A. Kouria, D. Portolos, Nikos Lytras, Building Form with Colour and Light [in Greek], National Gallery-A. Soutzos Museum & Hellenic Literary and Historical Archive, Athens 2008, pp. 115-119.2 Ibid, p. 118.3 Y. Tsarouchis, The Obsession with Greenery, Kathimerini daily, 7.9.1975.For further information on this lot please visit Bonhams.com

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Los 32

Nikolaos Gyzis (Greek, 1842-1901)Mère au berceau signé 'N. Gysis' et monogramme 'N.G' (en bas à droite)huile sur panneau 73 x 58cm (28 3/4 x 22 13/16in).signed and monogrammed (lower right) oil on panelFootnotes:ProvenanceLukas Akliros gallery, Berlin (from a stamp on the reverse).Vassos Falireas collection, GreeceBeatrice Spiliadis collection, Athens and thence be descent to the present owner.ExpositionsAthens, Iliou Melathron, Etairia Filotexnon, Exhibition of Works by Nikolaos Gyzis, March 15- May 15, 1928, no. 406, listed in the exhibition catalogue, pg. 20 (possibly).A master of genre painting, Gysis captures a vignette of rural life set in a spartan interior enlivened by the artist's vibrant brushwork and wonderful passages of colour. The painting is bathed in light which invades the scene from the left, highlighting the young mother and the child's cradle and making them glow with a shimmering luminescence. 'Gysis often used two kinds of lighting in his paintings: a general, diffuse lighting and a local one that highlighted the figures or objects he wanted to be particularly pronounced.'1 The generalised rendering, soft outlines and elimination of detail point to the artist's venture beyond the descriptive and the anecdotal and his ability to engage the viewer in the narrative by relying on purely pictorial means. Working within a subdued scale, Gysis suggests texture, space and atmosphere by subtle modulations of tone and intensity that demonstrate his amazing skill in the freer handling of form. Juxtaposing calmly handled surfaces to areas treated with swift, energetic brushstrokes, he simultaneously conveys a sense of reverence and cheerfulness, offering a genuine insight into the wonder of family and motherhood.'Praised like no other Modern Greek painter, Gysis, who lived and worked abroad, conveyed subjects of genuine Greek character, distinguished by vigorous palette in describing rural interiors, romantic disposition in relaying Greek traditions, familiarity and directness in portraying folk types and veiled nostalgia in capturing scenes of everyday life.'21 M. Kalligas, Nicholaos Gysis [in Greek], MIET edition, Athens, 1981, p. 74.2 M. Papanikolaou, Greek Nineteenth Century Genre Painting [in Greek], P. Pournaras editions, Thessaloniki 1978, p. 78.For further information on this lot please visit Bonhams.com

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Bonhams
Los 46

Constantinos Maleas (Greek, 1879-1928)Vue de Lavrio signé en grec (en bas à droite)huile sur carton32.5 x 49cm (12 13/16 x 19 5/16in).signed in Greek (lower right) oil on cardFootnotes:ProvenancePrivate collection, Athens.Bonhams London, The Greek Sale, 9 April 2014, lot 29.Acquired from the above sale by the present owner.An inspired transformation of an ascetic coastal landscape into a powerful visual language of undulating forms, this strikingly beautiful painting, which may have been included in Maleas's 'Attic Seashore' series exhibited in 1920-1921, perfectly justifies the artist's reputation as the quintessential master of the Greek landscape. (Compare Lavrio, 1918-1920, National Gallery - A. Soutzos Museum, Athens). Focusing on shapes and textures rather than realistic details and using richly-layered brushstrokes, sharp outlines and bold colouring, the artist entrusted his subject to the truth of vision, creating a dynamic tension between nature and abstraction, surface pattern and depth. Following in the steps of the great Cezanne who exhorted painters to look for solidity and permanence, he rendered the natural environment not only as coloured patterns of light that would have satisfied an impressionist eye, but also as a complex system of volume, mass and structure, venturing to penetrate into the inner world of the landscape and discover its enduring character and essential content.Similarly, Maleas endeavoured to transcend impressionism in the rendering of space, suggesting recession into depth not by diminution of tonal contrast but through arrangement of form in a sequence of planes. The distant mountains are as lucid and vibrant as the foreground rocks, while both land and sky, with their pronounced materiality and whirling, full-bodied forms, participate equally in the miracle of nature. This emphasis on the curvilinear results in a dynamic and rhythmical work, rich in expressive content, recalling the influential aesthetic writings of P. Yannopoulos: 'The unique lines of the Greek outdoors create beautiful, rounded shapes, occasionally soaring upwards with vigorous, adolescent agility only to return with a seagull's lightness to a gentle rhythm.'11 P. Yannopoulos, The Greek Line. [in Greek], Anatoli magazine, March 1903.For further information on this lot please visit Bonhams.com

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Bonhams
Los 56

Yiannis Tsarouchis (Greek, 1910-1989)Le café de Mavrokefalos signé en grec (en bas à droite)huile sur toile73 x 100cm (28 3/4 x 39 3/8in).Peint en 1971.signed in Greek (lower right) oil on canvasFootnotes:ProvenanceKokkas collection, Athens.Private collection, Athens.Expositions Ioannina / Xanthi / Rhodes, Techni Poliouchos, travelling group exhibition, Society for the Study of the Visual Arts - Ministry of the Interior, Public Administration and Decentralization, 2003-2004 (illustrated in the exhibition catalogue, p. 31).LittératureE. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, pp. 21, 108 (mentioned), p. 261 (listed), fig. 794.Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 253 (illustrated).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1999, no. 946, pp. xxxiii, 127 (mentioned), 283 (catalogued).Dimotiki Icho newspaper, no. 4, December 2003, p. 16 (illustrated).Y. Bolis, Yannis Tsarouchis, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 110-111 (illustrated).With penetrating realism, Tsarouchis captured the charming neoclassical façade of the Mavrokefalos coffeehouse1 on Panepistimiou St—a traditional Athens establishment frequented mainly by sailors and soldiers—in all its austere simplicity and noble restraint, conveying a sense of monumentality and timeless order. By focusing on rhythmical verticality, geometric purity of form, accuracy of design, compositional balance and stark juxtaposition of light and dark areas, the painter sought to underline, typify and ultimately mythologise the folksiness and 'Greekness' of his subject, investing it with a poetic aura and inner mystery that recalls the enigmatic façades of Giorgio de Chirico (compare The enigma of the hour, 1910).The foreground figures, set against a flat monochromatic backdrop interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, shadow-puppet folklore, and Theofilos's compositions—seem perfectly integrated into their surrounding space, imbuing the picture with a meditative feel and suggesting balance between the natural and the manmade. This subtle dialogue of monumental form and human scale creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity.'I first painted the Mavrokefalos coffeehouse in Paris around Christmas of 1950 from a small forgotten sketch of mine. I painted it twice. Once on a Christmas card, which I sent to Teriade, and a second larger one, which I sent to London with Elytis to be sold to an acquaintance of mine. The fact that I painted figures that did not dominate the painting with their size doesn't mean that my main concern was not finding the right proportions for the human figures in relation to their environment. The human presence in any work of mine is always the main subject no matter how small the figures are. The abstract harmony of a painting has never obliged me to neglect the human or humanistic element... All these coffeehouses took me a long time to make. I entered another world, both spiritually and pictorially.'2'To abandon drawing from models in the light of the studio in order to paint outdoors under the glare of the Greek sun and the shadows it casts, was for me an extreme departure. I hesitated to accept chiaroscuro with all its consequences because I feared that the pure structure of colours on canvas might be harmed. On the day I decided to abandon the lyrical and mystical interpretation of the world in order to discipline myself to see the exterior world objectively and narrowly, I felt as though my eyes had undergone an operation.'3 (Compare Y. Tsarouchis, Small coffee house in Athens / Kafeneion Mavrokefalou, Bonhams Greek Sale, November 25, 2014, lot 53). A cornerstone of urban genre, the traditional Greek coffee shop has always been a perfect place for philosophising and exchanging views on current events. Moreover, this engaging theme offered the artist the opportunity to express his love for the neoclassical architectural style. 'I was born in Piraeus in a neoclassical building and raised in two others, also neoclassical houses in Piraeus. For me, home meant only a neoclassical building. Later, when they started tearing them down one by one, I felt my life was being dismantled.'4 1 Tsarouchis also produced evocative renditions of the 'Neon' and 'Parthenon' coffee shops in the Omonoia Square district. 2 Y. Tsarouchis, 'Some Thoughts on my Works' [in Greek], The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 298-299; Yannis Tsarouchis-Painting [in Greek], Yannis Tsarouchis Foundation, Athens 1990, p. 51; N. Grypari, A. Szymczyk ed., Yannis Tsarouchis Dancing in Real Life, exhibition catalogue, Chicago 2021, p. 188. 3 Y. Tsarouchis, 'Notes and Speculations', Greek Heritage, the American Quarterly of Greek Culture, vol. I, no. 2, spring 1964, pp. 94-95.4 Preface to S. Skopelitis, Neoclassical buildings of Athens and Piraeus [in Greek], Dodoni editions, Athens 1975.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

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Bonhams
Los 64

Georgios Bouzianis (Greek, 1885-1959)Femme assise aux cheveux rouges signé 'Busianis' (en haut à droite); signé 'Busianis' (au revers)huile sur toile129 x 52.5cm (50 13/16 x 20 11/16in).Peint vers 1950.signed (upper right); signed (on the reverse) oil on canvasFootnotes:ProvenanceThe Artist's Estate.ExpositionsAthens, Exhibition Hall of the Parnassos Literary Society, Exhibition of Works by G. Bouzianis 1883-1959, May 28 - June 15, 1960, no. 21 (possibly).LiteratureZygos magazine, no. 10, August 1956, p. 10 (illustrated).Eikones magazine, no. 243, June 17, 1960, p. 23 (shown in a photograph of the artist's home studio).Zygos magazine, no. I-65, February 1965, p. 11 (illustrated).Zygos magazine, no. 37, September-October 1979, p. 26 (shown in a photograph of the artist's home studio).Bouzianis Watercolours, Agra editions - The Friends of Bouzianis', Athens 1982, p. 114 (shown in a photograph of the artist's home studio).Giorgos Bouzianis, Letters to H. Barchfeld, National bank of Greece Cultural Foundation, Athens 1989, fig. 33 (shown in a photograph of the artist's home studio).Commemorative Exhibition of Works by Giorgos Bouzianis, exhibition catalogue, Municipality of Daphni, 1993 (shown in two photographs of the artist's home studio).D. Deliyannis, Giorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 195, p. 31 (shown in a photograph with the artist's wife in his home studio, c. 1959), p. 291 (catalogued), 141 (illustrated).For over 60 years, this remarkable recent discovery by Bonhams has been accessible to scholarly research only though black and white photographs of the artist's Athens home studio taken circa 1959.A magnificent painting, whose large-scale format and signature style make it a quintessential Bouzianis from the 1950s, Seated woman with red hair fills the surface of the painting with her corporeal presence and statuesque calm, generating tension between bodily volume and pictorial space in the vein of Picasso's classic period in the 1920s. As keenly noted by Y. Tsarouchis, 'there is something classical in the works of Bouzianis, because for a Greek the classical is a natural state of mind.'1 Elaborating on this remark, Y. Psychopedis notes: 'Though he had assimilated the radical extremities of expressionism, Bouzianis transformed their pronounced gothic metaphysics to a discourse regarding the living human subject. His figures are tied to reality; they are not alienated as formless matter neither lose their identity becoming abstract, archetypal forms or nightmarish masks... His work emanates a nostalgia for the classical, a nostalgia for a lost and constantly sought balance.'2 In a 1960 article published in London's Studio magazine, art critic C. Spencer noted that 'in his draughtsmanship and handling of form Bouzianis reveals his German inheritance. His colours, however, are entirely non-Teutonic. They sing their lovely gay hues, and it is a Mediterranean, Grecian song, full of sun and golden light. There is also a less easily defined pathos in the colour, for all its glowing beauty. In this mingling of joy and sadness, of sensuality, of movement and form, Bouzianis is a richly rewarding and complex artistic personality.'3 Emerging from a shimmering ground of greens, greys, and blues Seated woman with red hair becomes both a reflection of the sitter's inner life and the artist's intense response to the subject. Treated in a frank and direct manner and rendered explicitly in all its glory, the female figure—one of Bouzianis's favourite subjects after 1926—reflects the artist's firm belief that art should be a vehicle for emotional states rather than a process of beautification. Leaving clear traces of a vigorous painting process, the picture pulsates with strong feeling and crackling energy, yet is continuously subordinated to aesthetic demands and disciplined by artistic intelligence. This inexhaustible vitality and incessant pulsating rhythm animate every part of the canvas, making it look like a vibrating star bathed in its own light.4A master of psychological interpretation and a true visionary, Bouzianis is an artist of international calibre. Being part of the interwar European avant-garde, he transcended the sterile academic tenets with an art of emotional and physical immediacy, seeking, as Oscar Kokoschka once said, to render the vision of people being alive.1 Y. Tsarouchis, preface to Bouzianis Watercolours [in Greek], Agra editions -The Friends of Bouzianis, Athens 1982, p. 12. 2 Y. Psychopedis, 'The Militant Introversion, Expressive Lyricism and Critical Spirit in the Work of Bouzianis' [in Greek] in Nostos, Kedros editions, Athens 2009, pp. 228-229. 3C.S. Spencer, 'George Bousianis', Studio magazine, London, vol. 159, no. 806, June 1960, p. 206.4 See G. Mourelos, 'Bouzianis's Technique' [in Greek], Kathimerini newspaper, Epta Imeres, October 27, 1996, p. 28.For further information on this lot please visit Bonhams.com

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Bonhams
Los 72

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Jardin à Londres signé et daté 'Ghika/London/68' (en bas à droite)gouache sur papier57 x 39cm (22 7/16 x 15 3/8in).Peint en 1968. Peint et inscrit avec le poème 'ΕΝ ΤΟ ΜHΝΙ ΑΘΥΡ' de Constantin Cavafy (au revers).signed and dated (lower right) gouache on paper Painted and inscribed with the poem by Cavafy (on the reverse)Footnotes:ProvenancePrivate collection, Athens.Imbued with the breath of the earth and charged with poetic feeling and Dionysian energy, an orchestrated nexus of undulating lines and spiralling curves sweeps the pictorial surface into a cosmogonic whirlpool. Branches, leaves, thistles and thorns spin and swirl around agile webs so that the whole composition is immersed in a constantly changing and revived atmosphere. Ghika's charismatic reflections and free use of colour make up a luminous and cheerful work, which speaks about the artist's lifelong fascination with the miracle of light and the magic of painting. In the 1960s, Ghika's angular geometry was gradually replaced by a world subject to natural forces. Inspired perhaps by Japanese calligraphy's constant flow of brush and pen, the artist explored the landscape's constant movement and dynamic elusiveness, expressing 'the most arcane nuances of the mystery of natural phenomena.'1 Imbued with meditative silence and elegiac feeling, the composition on the verso is inspired by C.P. Cavafy's poem 'In the Month of Athyr'2, recalling the artist's legendary illustrations for the 1966 Ikaros edition of Cavafy's poems. 1 Nikos Hadjikyriakos-Ghika, From the East [in Greek], Athens 1989, p. 43.2 In the Egyptian calendar the month of Athyr (the goddess of carnal love) corresponded to October-November. The poem was written and published in March 1917. (See C.P. Cavafy Collected Poems, translated by Edmund Keeley and Philip Sherrard, Princeton University Press, Princeton, New Jersey, 1975, pp. 74, 218).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

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Bonhams
Los 75

Yiannis Tsarouchis (Greek, 1910-1989)Automne, 1971 signé en grec et daté '71' (en bas à droite)huile sur toile60 x 48.5cm (23 5/8 x 19 1/8in).Peint en 1971.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceAthens Art Gallery collection, Athens. Private collection, Athens. LittératureZygos art magazine, no. 4, September-October 1973, p. 41 (illustrated).Kathimerini daily, January 19, 1975, p. 10 (illustrated).Nea Epicheirisis, Business Administration Bulletin, vol. 17, no. 160, May 1978, p. 101/513 (illustrated).E. Florou, Tsarouchis - Painting, (doctoral dissertation), vol. 1, Athens 1989, no. 787, p. 261 (catalogued).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 939, p. 283 (catalogued).Epiphaneia, Pierides Art Gallery - Kinisis Business Administration Bulletin edition, Athens 1992, p. 71 (illustrated).Silently immobile in shallow space like a precious butterfly pressed under glass, Tsarouchis's personification of autumn celebrates the purely pictorial realisation of a symbol's everlasting value. Striking immediacy, honesty of representation and genuineness of character build up an ideal world liberated from the fleeting moment. Painted in earthy colours, highlighted by solid outlines and set against a dark background reminiscent of many works by Giovanni Bellini (compare Pieta with Four Angels, 1470-1475, Pinacoteca Comunale, Rimini), the young sitter, the artist's niece Korina Koutouzi, conveys a striking immediacy and resilient allure, echoing Byzantine icons or Fayum1 and Renaissance portraits.Tsarouchis recalls: 'An issue that concerned me among other symbolisms was the age-old subject of the four seasons. Around 1966, a collector commissioned me to paint this long studied theme. I painted four figures—two couples—on a single canvas between 1968 and 1969 in Paris where I lived and worked at the time. Teriade saw this work and commissioned the Four Seasons on four separate canvases, with my nieces Korina and Despina as models. Despina as Spring and Winter, and Korina as Summer and Autumn.'2 Discussing lot 75 in a 1975 article accompanied by a photograph of the painting, art critic M. Karavia noted that 'after a quick look at Tsarouchis's portraits in Athens it is evident that his Renaissance related inquiries, which started in 1967, continue to preoccupy him to this day. His harking back to the monochromatic—often black—backdrops of the Flemish masters, as is the case with this painting, or to Bellini's portraiture became his own means of expression.'3 'The same way Tsarouchis glorifies the light in Theofilos's paintings, he is enchanted by the darkness of Caravaggio. When he paints on black backgrounds, in the vein of the Italian master, he does not rely on an interplay of light and shadow to build up form but, rather, he illuminates his figures from within according to the Byzantine tradition.'4 Featuring solid outlines, lively brushwork, bold application of paint and an utterly captivating non-finito effect,5 this allegorical portrait conveys a sense of reserved authority and lofty stature, with the artist—who was thoroughly familiar with the European artistic tradition—employing established art historical conventions from disparate historical eras to elevate his model to a mythical level. Tsarouchis himself said that when he painted the personifications of the four seasons he was influenced by the 17th and 18th century old master paintings he saw in French museums, blending age-old techniques with his personal artistic visions.6 'Tsarouchis draws on allegory—a rhetorical mode used as a cryptic form of artistic expression in Italian Renaissance and Baroque paintings—not simply so as to give an aesthetic dimension to an abstract concept through a specific form, but rather to make the most of its narrative and image-making abilities. As a typical rhetorical scheme of old master paintings, it invests his work with an aura of classicism.'7 As noted by the late Athens National Gallery Director M. Lambraki-Plaka, 'Tsarouchis's figures managed to survive the iconoclastic crusade of modern art, which never tired of demolishing, distorting or expelling the human form. Tsarouchis did not give in to this negative aesthetic theory, which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious palladium of the human figure. His art is a modern day incarnation of Noah's Arc.'8 1 Realistic and contemplative portraits produced in the Nile Valley during Roman times bearing the marks of an unquestionably Greek style deeply rooted in the Hellenistic School of Alexandria. They kept alive the conventions of naturalistic representation and passed them on to the Byzantine icon painters. Fayum portraiture was a major source of inspiration for Tsarouchis in his effort to reinterpret the age old tradition of Greco-Roman and Byzantine art in a modern and vigorous manner.2 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. x.3 M. Karavia, 'The New Pictorial Face of Yannis Tsarouchis' [in Greek], Kathimerini daily, January 19, 1975, p. 10.4 A. Levidis, 'Herald of Greekness' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 274. 5 'Works of art have a way of completing themselves' responded Tsarouchis when someone happened to remark that a painting of his seemed empty or unfinished. See G. Tourkovassilis, 'My Teacher Y. Tsarouchis' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 517.6 See Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 85.7 A. Kafetsi, Yannis Tsarouchis - Between East and West, exhibition catalogue, Greek Ministry of Culture, Athens 2000, pp. 21-22.8 M. Lambraki-Plaka, 'Yannis Tsarouchis and the Palladium of Painting' [in Greek] in Osei Myra, Yannis Tsarouchis 1910-1989, Kastaniotis editions, Athens 1998, p. 452.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

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Gateway Auctions
Los 11

1928 Chenard & Walcker T11 4 door Limousine No Reserve Registration: BS 9237 Chassis: 94884562 Engine Size: 2200 cc Odometer: 00624 Fuel: Petrol Transmission: 4 speed Manual MOT Expires: Exempt . Very rare thought to be 1 of only 5 manufactured • Imported to the UK from France in 1990 • In current ownership for over 20 years Outside • Red over cream paintwork is very presentable. It does show brush & sanding marks on close inspection • Repair showing on O/S/R quarter • Chrome bumpers in reasonable condition with only slight pitting • Wood inlays on runner boards in good order • Recently fitted new Michelin period tyres all round Inside • Light brown with red piping velour seats are clean and have no rips • Matching door cards & carpets • Wood trim on the dashboard & door tops is crack free Mechanical • Fitted with a Land Rover 2.2 petrol engine by the current owner (The original engine is available) • The engine starts well and runs smoothly • Original 4 speed gearbox is mated to the Land Rover engine with a conversion plate and is good order • The brakes need a firm press but pull the car up well History • V5C registration document shows the car as manufactured in 1928 • First date of registration in the UK was 2004 • Imported to UK from Brittany France in 1990 • Steadily restored and improved since import • Has been used for over 40 weddings by it's current owner • 2 - Original owners handbook (but in French!) • Chenard & Walcker were a French car manufacturer renowned for 1st & 2nd place at Le Mans in 1923 Our Opinion An opportunity to own and enjoy a very rare and unusual car from the 1920's! Great for shows and also weddings as proved by it's current owner!

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Gateway Auctions
Los 4

2002 Porsche Boxster S 3.2 6 speed manual convertible roadster No Reserve Registration: J999 LRH Chassis: WPDZZZ98Z3U640872 Odometer: 81,089 Engine Size: 3200 cc Fuel: Petrol Transmission: 6 speed Manual MOT Expires: 16/06/2023 . Desirable 6 speed manual 986 Boxster S • Black Leather interior • Low mileage for the year Outside • Black metallic paint in good condition but in need of a machine polish to bring out it's gloss • No notable dents, scrapes or rust • Minor stone chips on the bonnet & front bumper • Light lenses very clear • Glass all chip & scratch free • All 17 inch alloy wheels would benefit from a refurb • Michelin tyres are cracking on the sidewalls • Rear Boxster S badge is damaged Inside • Excellent black leather seats with only minor age related creasing • Dash, clocks, door cards & switches all in good condition • After market Alpine stereo • Rear wind deflector Mechanical • Engine starts well and is smooth with no rattles • 3.2 S engine pulls well throughout the rev range • Gearbox is smooth and crunch free with a light clutch • The brakes are positive and the Boxster stops in a straight line History • Only 3 former keepers • Original book pack & part service history with 4 stamps  Our Opinion A very useable Porsche Boxster S that will be a very nice example with a good polish.

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Gateway Auctions
Los 7

2003 Porsche Boxster 2.7 5 speed manual convertible roadster No Reserve Registration: SV53 EHZ Chassis: WPOZZZ98Z4U601284 Odometer: 82,069 Engine Size: 2700 cc Fuel: Petrol Transmission: 5 speed manual MOT Expires: 19/10/2023 . Eye catching metallic silver • Sought after 18 inch Carrera Light 5 spoke alloys • Heated seats Outside • Deep gloss on the desirable metallic silver paint • No notable dents or scrapes • Minor stone chips on the bonnet & front bumper • Small area of bubbling under O/S/R quarter air intake • Light lenses are a little yellow/dull but could be refurbished • Glass all chip & scratch free • All 18 inch alloy wheels present well with no kerb damage only slight bubbling to some inner spokes • Blue hood has no tears but has a slight fray around the size of a 10p Inside • Grey leather interior is in good condition with black Porsche over mats • This Boxster has the welcome extra of heated seats • Original stereo system with CD auto changer Mechanical • Engine starts well and revs freely with no rattles • 5 speed gearbox and clutch are smooth and positive • Brakes bring the car to halt in a straight line with a solid pedal History • Only 4 former keepers • Original book pack & part service history with 6 stamps  • Quantity of receipts Our Opinion An eye catching Boxster with rare wheels and a great colour.

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Gardiner Houlgate
Los 1115

Leningrad Electric Clock Works 16" dial slave clock within a blackened metal case; also a Leningrad Electric Clock Works 5" dial slave mantel clock within a light oak case, 7.75" high (2)

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Gardiner Houlgate
Los 1120

Gents electric master wall clock, the 8" square dial within a glazed light oak case, 50.5" high

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Gardiner Houlgate
Los 1254

English light oak and ebony bound double fusee library clock, the 7" silvered dial signed Dela Salle Christie, Cannon Street, London, the movement with locking pendulum and striking on a bell, within a stepped case surmounted by a caddy top, 14.25" high (pendulum and keys)

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Gardiner Houlgate
Los 1332

French pottery two train mantel clock, the movement back plate signed Jacot Petit á Paris, with outside countwheel and striking on a bell, the 3.25" white dial within a painted gilded light green balloon shaped case, upon a fixed base and surmounted by a foliate finial, 12.75" high

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Gardiner Houlgate
Los 2108

Good Japanese SS-150 staking set within a light wooden glazed case, 7.5" wide

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Gardiner Houlgate
Los 2111

Good quality stainless hardened precision metal gauge, fitted with sliding scales and an eye glass, within a light wooden fitted box with accessories, 19" wide overall

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Gardiner Houlgate
Los 2506

Russian aircraft cockpit clock, the 2.75" black dial with subsidiary hour and seconds hands, also with luminous hour and minute hands and centre seconds, stamped 2 Cytok no. 86853, within a light grey metal casing *This clock bears the original receipt document dated 27 09 1971 and fitted Polystyrene box

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Mallams
Los 147

An antique light oak kitchen table 158cm wide x 80cm deep x 78cm highOne stretcher loose. The top panels parting.

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Mallams
Los 423

A three piece walnut and double-cane panelled bergère suite comprising a settee and two armchairs, with shaped backs carved with shell and foliate decoration, shell carved cabriole legs, claw and ball feetthe settee 180cm widethe chairs 67cm wideQty: 3In good condition with a few scuffs and light scratches.

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Mallams
Los 426

A 17th century-style walnut-shaped centre table, the shaped circular top inset with burr yew-wood panel, two frieze drawers, on spiral turned supports and an 'X' frame stretcher92cm diameterIn generally good condition. The top showing signs of wear and with light scratches.

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Mallams
Los 435

A contemporary white metal sculpture of an exotic bird48cm highQty: 1Good condition with light rust marks and the odd minor flaw.

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Mallams
Los 47

A Royal Copenhagen blue and white floral porcelain part dinner service, comprising of two large dinner plates, two latticed edge plates, four serving plates, six tea plates, five teacups, one milk jug, one medium sized jug, one lidded teapot, one dish and one raised centrepiece stand (24)Used condition, with scratches to the surface due to wear, all intact. No chips and in good condition showing only light use. The plates are about 25cm diameter. 

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Mallams
Los 48

A Victorian walnut tabletop humidor cabinet; an ormolu mounted cylindrical hardstone inkwell; two Chinese vases; a bronze candelabrum; a tin tray; a cut glass hanging light fitting; a decorative art glass bowl; a French oil lamp base; and further items (qty)Some minor losses to the humidor cabinet but with key to the Bramah lock. The inkwell with some minor oxidisation to the metal mounts and small chip to the glass liner within. The Chinese vases with damages and restoration overall. Minor marks and scratches, dents etc to the tray. The candelabrum with one drip pan and socket in need of replacement or repair. The remaining items as found.

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Bonhams
Los 105

AN EARLY VICTORIAN SEVEN LIGHT SILVER CANDELABRUMBy E J & W Barnard, London 1840With foliate branches with detachable nozzles and scroll feet, engraved armorial, 75cm high, weight 183oz.Footnotes:These are the arms of the Revd, Francis LEAR (1789-1850), rector of Bishopstone Wiltshire and Dean of Salisbury, and his wife, who he married in 1822, Isabella Mary MAJENDIE (1797-1862) daughter of Revd. Henry William MAJENDIE (1754-1830) by Anne ROUTLEDGE (1754-1830). Francis LEAR was educated at Oriel and Magdalen College Oxford becoming a fellow. He gained livings from Chilmark and Bishopstone, Wiltshire and was appointed Archdeacon of Salisbury in 1836 and later Dean. He was the son of Revd. Thomas LEAR (1744-1828) who was the incumbent at Downton, Wiltshire by Ethelinda HEWETT (1760-1789). The LEAR family had earlier origins in Rustington, Sussex and before that at Braintree, Essex. Notably the son of Francis and Isabella Mary LEAR, also Francis, was later also rector of Bishopstone and Arch Deacon of Salisbury. Also engraved with the seal of the Diocese of Sarum (Salisbury): A dove rising holding in the beak an olive branch and inscribed SIGIIANM DOMINI ARCHIDIACONI SARVMFor further information on this lot please visit Bonhams.com

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Bonhams
Los 581

A 12-bore 'Ultra Light' single-trigger over-and-under ejector gun by Beretta, no. N06466BHold-open toplever, fully-selective gold-washed single-trigger with integral barrel-selector switch and automatic safety-slide, the sides of the action-body with pairs of woodcock and pheasant in flight, some foliate-scrollwork, stock with pistolgrip and Beretta butt-plate, the Excelsior High Strength Alloyed Steel barrels, engraved P. Beretta, Made in Italy, with matt ventilated top-ribWeight 6lb. ½oz., 14⅝in. pull (14⅛in. stock), 28in. barrels, multichokes - Cyl. & ¾, 2¾in. chambers, Italian nitro proofThis lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com

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McTear's
Los 122

* PETER FOYLE, SUMMER LIGHT, LARGS oil on canvas board, signed, titled label versoframedimage size 25cm x 30cm, overall size 41cm x 46cmLabel verso: The Framework Gallery, Troon

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McTear's
Los 189

* KYS (FRENCH b. 1949), UNTITLED oil on canvasunframedoverall size 126cm x 105cm Provenance: Acquired by the vendor from REDSEA Gallery, Block 9 Dempsey Road, #01-10 Dempsey Hill, Singapore 247697 in 2010/11. Ms Anita Saraswathy (Gallery Manager, REDSEA Gallery) has recently confirmed the current gallery price for a Kys work of this size is SG$9000 (approximately £5030).Note: "Kys" was born in 1949. His quest of the spiritual world of Asia began 30 years ago when he left France to travel through India, Nepal, Thailand and Japan. With an impeccable photo-realistic painting technique and a mastery of light and shade, Kys depicts the particular quality of each Jayavarman (King of Cambodia) or nude image. Using acrylic paint, gold or silver leaf and other secret ingredients; in his Jayavarman paintings he depicts the ancient patina of stone statues, worn by thousands of years of monsoon rains. Kys says “When I paint, I pray with my brush.” Modestly, he sees himself as merely a channel between the model and the viewer. Kys will paint his subject from a figurehead (his nudes from live model). Several layers of acrylic paint are used on the canvas. His subject is then painted on these layers enhancing the texture, tones and depth by using gold and silver leaf. His technique produces an incredible three-dimensional image, almost as if it was a hologram. The text he uses are single words, stamped on, written in ancient Khmer, Thai, Chinese, Japanese and other Asian languages. Their meanings are simple; Happiness, love, health, kindness, warmth and other words that collectively do not make a single sentence but bring the understanding and feeling of peace and harmony to the viewer.

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