* Empress of India 1877, gold 'James Gibbs. Member of Council Bombay.', contemporarily engraved in serif capitals, 58mm diameter, 129g, in C.C. Adams, F.S.A. Sculptor London case of issue, the medal suspension damaged but with the missing piece of suspension, the actual medal has some light scratches and could be considered good very fine, the box is somewhat tatty but all present, a fine and rare medalQty: (1)NOTESJames Gibbs (1825-1886) was the son of a Lord Mayor of London, he was educated at Merchant Taylors’ and Haileybury before entering the Indian Civil Service in 1846. After serving in Sind he was appointed Judge of Poona in 1864, being elevated to the High Court in Bombay, where he was also President of the Asiatic Society. In 1874 Gibbs was appointed to the Governor’s Council of Bombay in which capacity he attended the Imperial Assemblage in Delhi in 1877 where he was one of the high British officials awarded the Gold Medal, the majority being awarded to Indian Ruling Princes. On 25th May 1878 he was made a Companion of the Most Exalted Order of the Star of India [C.S.I.] and after being appointed a member of the Supreme Council he received an ex-officio award of Companion of the Most Eminent Order of the Indian Empire [C.I.E.] on 19th May 1880.
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* Sweden. Oscar II 1897 Jubilee medal to members of the Royal Household, silver-gilt with light blue enamel, 50mm, together with a silver example with dark blue enamel in C.F. Carlman case of issue, scarce medalsQty: (2)NOTESMade to commemorate 25 years of King Oscar II's reign. Issued in three versions 232 medals in silver with the king's gilded left profile on a background of light blue enamel suspended by the Seraphim ribbon and was presented to royal family members, foreign guests, and executives of certain rank at the Royal Court. 268 in silver with king's profile in silver on a background of dark blue enamel worn on the dark blue ribbon of H. M. The King's Medal.
* Alcock (John William, 1892-1919 & Brown, Arthur Whitten, 1886-1948). A printed menu card for the Aircraft Production Department (Engine Branch). Luncheon in honour of Capt. Alcock and Lieut. Brown, Atlantic Flyers, Holborne Restaurant, 18th June 1919, printed in blue on off-white card, signed by 8 of the diners, J. Alcock, A.W. Brown, E.M. Miles, Wm. Alexander, R. Brooke-Popham, M. Kathleen Kennedy (in pencil), D.H. Kennedy and (?)L.F. Bullingham, light brown (?) gravy spots to upper left corner and one spot below embossed gilt crest of the restaurant, 18 x 11.5 cmQty: (1)NOTESThis celebration dinner preceded the Daily Mail event on 23rd June at the Savoy Hotel. Alcock & Brown had carried out the world's first transatlantic flight, crash-landing at Clifden, County Galway, on 15 June, and winning the £10,000 Daily Mail prize. The Aircraft Production Department (originally called the Aeronautical Supplies Department) was established in January 1917. Following the formation of the Air Ministry in January 1918, the responsibility for design was transferred to the Ministry of Munitions, and the Aircraft Production Department became an independent air group. John William 'Jack' Alcock (1892-1919); Arthur Whitten Brown (1886-1948); Robert Brooke-Popham (1878-1953); E.M. Miles; Marguerite Kathleen Kennedy (1896-1952); Major David Henry Kennedy (1870-1940), Electrical Engineer at Ministry of Munitions; Brig. Gen. William Alexander (1874-1954), Controller of Aircraft Supply & Production.
* Black & White Negatives. An interesting collection of approximately 1,250 black and white negatives in various formats, depicting British military and civilian aircraft, some dating back to the 1960s and including a good number of light aircraft, each negative is contained in an acetate sleeve, the majority of which are marked with details of the subject enclosedQty: (3 containers)
A 1953 Omega Military Royal Air Force (RAF) "Fat Arrow" stainless steel wristwatch, 37mm case, running, black dial, rear cover with broad arrow 6645 101000 and 6B/542 2034 /53, movement numbered 12804171, with inner dust cover, on later grey leather strap Glass: some minor marks, Dial: some marks and possibly repoainted, Case: typical dents and scratches, Cover: minor and light scratches, Movement: good very minor wear
A late 1940s Jaeger-Le Coultre Military Royal Air Force (RAF) Mark 11 stainless steel wristwatch, 35mm case, running, black dial with sweeping second hand, rear cover with broad arrow 6B / 346 and 2170 / 48, movement numbered 590600, with inner dust cover, on later canvas strap, and a spare retaining ring and crystal Glass: some scratching, Dial: good but some typical wear, Case: scratched and dents, Cover: two prominent scratches, dented to removal lugs and light scratcing, Movement: overall good just some light scratches
A 1950s International Watch Company Military Mark XI Royal Air Force stainless steel wristwatch, 36mm case, running, black dial with sweeping second hand, marked with broad arrow and T, cover marked with broad arrow 6B/346 and 1944/51, with inner dust cover, on later grey leather strap Glass: good and very minor scratching, Dial: overall OK just some wear to luminuous paint, Case: some scratching and denting, Cover: scratched and dented to centre, Movement: overall good just some light scratching
A c1970s Hamilton Military Royal Air Force stainless steel wristwatch, 36mm case, running, black dial with sweeping white second hand and marked with T in circle and broad arrow, rear cover marked with broad arrow and 6B - 9101000 H 2866 M, inner dust cover, on later black leather strap Glass: good and very minor scratching, Dial: overall OK just some wear to luminuous paint and possibly touched up, Case: some scratching and denting, Cover: scratched, Movement: overall good just some light scratching
A 1970s Hamilton W-10 Military Army stainless steel wristwatch, 35mm tonneau case, running, black dial with T in circle and broad arrow, sweeping seconds hand, cover engraved with broad arrow and W 10-6645-99 7517 /73, on black leather strap Glass: minor scratching, Dial: overall very good, Case: light scracthing and denting, Cover: scratched, Movement: not inspected
A 1970s CWC Military W-10 British Army stainless steel wristwatch, 35mm tonneau case, running, black dial with T in circle and broad arrow, sweeping seconds hand, cover engraved with broad arrow and W 10-6645-99 2013 /76, on black leather strap Glass: minor scratching, Dial: overall very good, Case: light scracthing and denting, Cover: scratched, Movement: not inspected
Restored to concours condition1976 Maserati Khamsin CoupéRegistration no. WGT 287RChassis no. AM120-341To view a video of this lot please click here*Maserati's top-of-the-range model in its day*Very rare right-hand drive example*Delivered new in the UK*Known ownership history*Professionally restored between 2008 and 2012*Maserati Classiche certifiedFootnotes:Long under the radar in terms of historical recognition and valuation, the Khamsin has in recent years gained the appreciation and respect it always deserved. It is one of the very finest Grand Touring cars ever built and the last Maserati of the classic era designed under the technical stewardship of legendary chief engineer, Giulio Alfieri. It was also, being slightly more expensive than the mid-engined Bora, the top of the Maserati range in its day. Citroën had acquired Maserati in 1968, and the French company's substantial investment was reflected in the Khamsin's advanced specification. The Khamsin is notable as the very first front-engined Maserati to feature independent rear suspension, by means of double wishbones and two coil-over shock absorbers per side, while the rear differential was mounted in a sub-frame. At the request of Alfieri (it was not imposed by Citroën), the French firm's famous hydraulic system was used for the power steering, brakes, clutch, driver's seat adjustment and headlight raising. The Khamsin was powered by Maserati's classic, 4.9-litre, four-cam, dry-sump, alloy V8 engine - as used in its Ghibli SS predecessor - which on Weber 42 DCNF carburettors produced 320bhp and a stump-pulling 355.5lb/ft of torque, the latter more than the Ferrari Daytona. Allied to a top speed of 175mph, the Khamsin has a very precise and light steering and clutch, which means it can be driven in traffic all day with ease, while its brakes are extraordinarily powerful and do not fade, even on a track day. It is supremely comfortable on long journeys, the driver and passenger emerging fresh and ready for a night out as opposed to the case with so many of its rivals. The Khamsin was the first Maserati production model designed by Carrozzeria Bertone, whose supremely talented stylist Marcello Gandini producing a breathtaking wedge design. Its perfect proportions, vertical rear glass with hanging tail lights, and asymmetrical louvres on the bonnet hinting at the mighty engine beneath, are as traffic-stopping today as when the car was new. It exudes class and elegance, making admirers stop for a second look. Completing this perfect package, the Khamsin has neutral handling and is as agile as many smaller sports cars. Unfortunately, its sales were hurt by the 1973 energy crisis, and while production continued under new owner Alessandro de Tomaso, from 1976 to 1982 only 430 were built, with 73 of them right-hand drive for the UK and other markets. The rare right-hand drive example offered here was first registered on 30th December 1976 when sold by MTC Cars, the company of Mario Tozzi Condivi, the UK Maserati importer. It was finished in the stunning colour combination of gorgeous Luci del Bosco (a rich shade of brown) with Senape interior, and was equipped with the desirable ZF five-speed manual gearbox. Noted collector Patrick Martin was the second owner, acquiring the Khamsin on 1st April 1981. On 3rd March 1988 the car was sold to John Jorgensen before moving on to Michael Bonney's stable on 28th July 1993. Rupert Wilkes became the next owner on 17th May 2002. The current owner acquired the Khamsin at a London auction on 27th February 2007 to complete his sizeable collection, which includes half a dozen classic Maseratis. By this time the car was in need of a full restoration. Carried out to the highest standards, this commenced in 2008 at renowned marque specialists McGrath Maserati, while the bodywork was entrusted to Vintage Cars of Lymington and Ross Packard of New Milton. Arguably one of the most comprehensive refurbishments a Khamsin has ever been subjected to, the process took over three years and is fully documented by receipts on file. The rebuild was completed in the spring of 2012. This restoration took place alongside several other Khamsins being restored at McGrath's in time for the International Khamsin Quaranta reunion held that June near Beaune, Burgundy. This event featured guest-of-honour Marcello Gandini and Maserati Classiche, who judged the 27 Khamsins gathered from all over Europe. Chassis number '341' was not judged, only displayed, as its owner was the event co-organiser with author Marc Sonnery, and it was felt its inclusion would have been unethical. However it was evidently as good as it gets. Gandini signed the sun visor, and '341' was proudly driven home with a stop near Reims to load some Champagne in its capacious boot.The restoration's fine quality was recognised in 2014 at Salon Privé in Syon Park, West London where, judged by Maserati historian Adolfo Orsi, it made a strong impression on guests. '341' then received further recognition the following year, winning the Maserati UK Owners Club concours outright. The Khamsin was driven to France again for the Le Mans Classic in 2018 and was the perfect choice for such a trip, being one of the greatest classic Grand Tourers. It was also featured in the book 'Maserati - The Citroen Years', the definitive book on that era of Maserati.The car comes with its complete set of Maserati Classiche documents; the original handbook and wallet; the rare Maserati service book and original factory toolkit and jack. It would be the perfect car to enter in the second International Khamsin meeting, Khamsin Cinquanta, in June 2022 to celebrate the model's 50th anniversary, this time with full concours participation.As special as they are rare, Khamsins have a devoted following and tend to be kept for many years by connoisseur owners. This is a rare opportunity to acquire an expertly restored five-speed example of the Trident marque's ultimate Grand Touring car in its stunning original colours.For further information on this lot please visit Bonhams.com
1960 Aston Martin DB4 'Series II' Sports SaloonRegistration no. not UK registeredChassis no. DB4/266/L*Landmark Aston Martin model*Rare and original left-hand drive example*Delivered new to Switzerland*Conservatively estimated and offered at No Reserve Footnotes:'When the products which are raced bear such a close resemblance to those which can be bought by the public, as do those of Aston Martin, only the most biased can deny the value of racing in improving the breed. It should be no surprise (that the DB4) should be based on an engine which first appeared in experimental form in some of last year's races.' - The Autocar, 3rd October 1958.At its launch in October 1958, the DB4 marked a major turning point for Aston Martin as it was the first car of the David Brown era which neither used a chassis derived from the experimental Atom of 1939 nor an engine designed under the auspices of W O Bentley. Moreover, it was the first Aston Martin to carry Carrozzeria Touring's 'Superleggera' bodywork, in which light alloy panels were fixed to a framework of light-gauge steel tubes welded to a platform chassis. Although styled by Touring, the DB4's gorgeous fastback coachwork was built under license at Newport Pagnell by Aston Martin's Tickford subsidiary, which employed some of the finest panel beaters in the industry. The result was a car whose sleek lines were described as 'unmistakably Italian and yet... equally unmistakably Aston Martin.' The 3.7-litre, six-cylinder power unit was the work of Tadek Marek and had first been seen at Le Mans the previous year in the works DBR2 sports-racer.Manufactured between October 1958 and June 1963, the DB4 developed through no fewer than five series. The first series had already undergone a number of improvements, including the fitting of heavy-duty bumpers after the first 50 cars, before the second series arrived in January 1960. A front-hinged bonnet, bigger brake callipers and an enlarged sump were the major changes made on the Series II. To many, the Series II is the zenith of the aesthetic design, retaining the large and purposeful bonnet scoop and the delicate cathedral tail-lights. Including Vantage and convertible models, approximately 1,100 of these iconic 'Gentleman's Express' sports saloons were produced between 1958 and 1963. According to the copy guarantee form on file, left-hand drive chassis number '266/L' was sold new via Patthey, the Swiss Aston Martin agent, to Mr Robert Firmenich of Geneva. The car was supplied with fully chromed road wheels and a heated rear light (screen) and left the factory finished in Desert White with black Connolly leather interior. Other documentation consists of copies of previous Swiss and German registration documents and the copy invoice relating to its sale between E Thiesen to Axel Schütte Klassische Automobile in March 2008. With Weber carburetors, drilled pedals, no bumpers and tow-eyelets, it would appear 266/L enjoyed an element of competitive use with a former owner. Subsequently exported from the EU and kept in storage, it may require some re-commissioning prior to road use. Please also note the car will attract the low import duty rate of 5% if it is to remain in the UK.Lot to be sold without reserve.This lot is subject to the following lot symbols: * N* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.N If purchased by a UK resident, this machine is subject to a NOVA declaration, whilst the responsibility of submitting the NOVA rests with the Buyer to do so, Bonhams will facilitate the process by engaging an agent (CARS) to undertake the NOVA on the Buyer's behalf. A fee of £250 + VAT to do so will be added to the Buyer's invoice.For further information on this lot please visit Bonhams.com
Restored to concours condition1969 De Tomaso Mangusta CoupéRegistration no. TOR 509GChassis no. 8MA 0994To view a video of this lot please click here*One of only 50 single-headlight versions built*Imported from the USA*Restored by recognised marque specialist Roger Brotton*Rebuilt between 2008 and 2015*Featured in Classic & Sports Car magazineFootnotes:Alessandro de Tomaso was born in 1928 in Buenos Aires to a brilliant politician father, who could have been the President of Argentina but passed away when Alessandro was only five, while his mother was descended from the Spanish Viceroy. Young Alessandro, thus bereft of fatherly authority, grew up somewhat wild and strong willed. He ran the large family ranch as a teenager. He then started a political newspaper critical of Argentina's iron-fisted ruler, Juan Peron, and was arrested before being forced to return to the family's ranch. Alessandro was soon back in Buenos Aires, only to hurriedly flee the country and the prospect of further arrest in 1955, escaping in a private plane. De Tomaso then immigrated to Italy, settling in Modena, then the European centre of motor sport and GT car manufacture, and continued racing in motor sport as he had done back home. He married tall, blonde, American heiress and amateur racer Isabelle Haskell in a Palm Beach, Florida ceremony, and soon started building single seaters in small quantities. This project started in a very humble way in small workshops, drawing on the pool of talented craftsmen in the home of Maserati and Ferrari. Then came the first road car, the compact and very light, mid-engined Vallelunga, which was powered by a 1.5-litre four-cylinder Ford engine. Only 50 were built. Next came the Mangusta, a pivotal development for Alessandro de Tomaso's fledgling company. The name was chosen by the ever-temperamental de Tomaso when he had a falling out with Carroll Shelby, builder of the Cobra. The Mangusta, Italian for mongoose, is famous for fearlessly dispatching the aforementioned reptile...With the Mangusta, de Tomaso would boldly cross several thresholds, aided substantially by his wife's family's money and his irrepressible entrepreneurial gift. It was to be his first full-size, large-capacity sports car and the first that would be produced in significant quantity (401 were made). It also enabled de Tomaso to graduate from artisan to industrialist, swapping his small workshop for a much larger factory. The late Paul Frère, one of the world's most respected automotive journalists, was flabbergasted when after a two-year gap he visited the new de Tomaso headquarters. The Belgian former Le Mans winner recalled a workshop shared with firewood storage, and only two years later found himself in the middle of a fledgling factory with production proceeding at full pace. Despite there being staff that could have done the job, it was typical that de Tomaso himself insisted on explaining the car to Frère, who was most impressed during his test drive.The birth of the Mangusta had been serendipitous. The mercurial Alessandro was by then owner of Carrozzeria Ghia, and when a body it designed via the skilled hands of Giorgetto Giugiaro and intended for Bizzarrini was not taken up by the latter, he decided to do something about it. Enlarging the concept of the small Vallelunga to a full blown GT, he gave it an innovative spine chassis and mid-engined configuration. For the engine, he spoke with Ford, who at first did not know what to make of this unconventional man and his project, but soon agreed to sell him batches of engines. Mangustas were thus fitted with Ford V8s, either with the 289ci (4.7-litre) or 302ci (5.0-litre) unit. It is, however, a common misconception that European cars differed from US cars by having 289s. This is a fallacy: some early cars had them but most cars, independent of the destination market, were built with 302s. Independent suspension and disc brakes all round give the Mangusta reactive handling making it as exciting to drive as its appearance suggests. A Mangusta, however, is all about the body: featuring the famous and unique gullwing engine covers, it is one of the most stunning and certainly purest shapes of any Grand Touring/sports car of that era. It is telling that no one, except a handful of amateur racers on both sides of the Atlantic, ever besmirched or degraded one with spoilers, wings or other additions that would have polluted its design purity.Featuring a unique, wood and leather, segmented steering wheel, the comfortable interior is more accommodating than most mid-engined cars of that era. The Mangusta's Detroit-sourced power unit gives it ample torque for genuine high performance, yet is placid and easy to use in traffic where it is surprisingly quiet. With approximately only 150 Mangustas left in total according to de Tomaso connoisseurs, they remain as rare a sight as they are stunning. The car presented here, chassis number '8MA 0994', is one of only 50 single-headlight versions built. This car's early history is unknown, although it is believed it had been in California all of its life. '0994' was imported into the UK on 2nd February 2008, having been bought from Matthew Chitea in Placerville, California. It was imported by top UK de Tomaso restorer Roger Brotton and fellow marque specialist Phillip Stebbings. Brotton stated that the car was the 'best Mangusta bodyshell he had ever seen' when it was found in California. The Mangusta was quickly sold to its current owner, an enthusiast collector and automotive book publisher with a very fine collection located south of London. In the expert hands of leading marque specialist Roger Brotton, it was then subjected to a seven-year full restoration to concours standard, which took from 2008-2015 to complete and cost approximately £250,000, all receipts being on file. The car also comes with copies of original factory documents. '0994' retains its original engine, which has been 'breathed' on with a '340 stroker kit', a far from extreme upgrade but one that produces approximately 330bhp.The car was entered in the Royal Artillery Company's London Concours in 2018 and has been to Goodwood. It has also featured in a cover photograph and article in Classic & Sports Car magazine comparing the Mangusta to some of its contemporaries.Any Mangusta is a rarity nowadays, but a properly restored one is rarer than hen's teeth. Thus this example, with its exceptionally rare single-headlight configuration, represents a wonderful and almost certainly unrepeatable opportunity for the connoisseur to add one of the most beautiful automotive designs ever produced to their collection.For further information on this lot please visit Bonhams.com
EDMUND THORNTON CRAWFORD RSA RSW (SCOTTISH 1806 - 1885) - and others, an album of primarily pencil sketches, nine signed by Crawford, others unsigned, various landscape and marine subjects, together with a group of others by various hands and a number of prints, approximately 34 pictures, sizes from c. 7cm by 10cm to c. 14cm by 21cm, album lacking original boards. Album 26cm by 21cm Note: Crawford was a landscape and marine painter, born at Cowden, near Dalkeith, in 1806. He was the son of a land surveyor, and when a boy was apprenticed to a house-painter in Edinburgh. He entered the Trustees' Academy under Andrew Wilson, where he had fellow-students David Octavius Hill and Robert Scott Lauder. William Simpson, who was one of the older students, became a close friend. Crawford's early paintings were exhibited in the Royal Institution, and his first contributions to the annual exhibition of the Royal Scottish Academy appeared in 1831, two of these being taken from lowland scenery in Scotland, and the third being the portrait of a lady. Although not one of the founders of the Academy, Crawford was one of its earliest elected members. His name appears in the original list of associates, but having withdrawn from the body before its first exhibition, it was not until 1839 that he became an associate. Meanwhile he visited Holland for the first of what would be several times. He studied the Dutch masters, whose influence in forming his picturesque style was seen in nearly everything he painted. Despite acclaim and commercial success it was 1848 before he was elected a full academician. In the same year he produced his first great picture, ‘Eyemouth Harbour,’ which he rapidly followed up with other works of high quality which established his reputation as one of the greatest masters of landscape-painting in Scotland. Among these were a ‘View on the Meuse,’ ‘A Fresh Breeze,’ ‘River Scene and Shipping, Holland,’ ‘Dutch Market Boats,’ ‘French Fishing Luggers,’ ‘Whitby, Yorkshire,’ and ‘Hartlepool Harbour.’ He also painted in watercolours, usually working on light brown crayon paper, and using body-colour freely. The only picture he contributed to a London exhibition was a ‘View of the Port and Fortifications of Callao, and Capture of the Spanish Frigate Esmeralda,’ at the Royal Academy in 1836. The characteristics of his art are the old school of Scottish landscape-painting. This was not so realistic in detail as the modern school, but was perhaps wider in its grasp, and strove to give impressions of nature rather than the literal truth. In 1858 Crawford left Edinburgh and settled at Lasswade, but he continued to contribute regularly to the annual exhibitions of the Academy until 1877, maintaining to the last the high position he had gained early in life. He was at one time a keen sportsman with both rod and gun. He died at Lasswade 27 Sept. 1885, ‘Coast Scene, North Berwick,’ and ‘Close Hauled; Crossing the Bar,’ by him, are in the permanent collection of the National Gallery of Scotland and a further nineteen works are held in UK public collections.
Georgios Jakobides (Greek, 1852-1932)Cent pétales roses signé en grec et daté '1916' (en bas a gauche)huile sur toile66 x 51cm (26 x 20 1/16in).signed in Greek and dated (lower left) oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExposéAthens, Greek Artists Association, Art Exhibition, 1916, no. 121, listed in the exhibition catalogue (possibly).Athens, Greek Artists Association, Fourth Art Exhibition, 1917, no. 55, listed in the exhibition catalogue (possibly).LittératureThe artist's notebook, 1916 (possibly).Pinakothiki magazine, no. 194-195, April-May 1917, p. 28, discussed (possibly).O. Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, no. 39, p. 359, catalogued (possibly).Among Greek flower painters, Jakobides stands with the greatest. As noted by O. Mentzafou-Polyzou who prepared the artist's monograph, 'clearly a master of the rules of composition regarding object arrangement, Jakobides employed classic models in his approach to still life, as these were preserved by tradition. Yet, he also assigned a leading role to the light falling on them and sought through stark contrast and glowing colour the greater possible fidelity in their description. His main preoccupation was to highlight the material, tactile quality of objects, whereas in his floral compositions—a genre which he fondly explored after his return from Munich to Athens—to capture freshness, delicacy, and liveliness, in tune with his search for a painting true to reality.'1 We are first aware only of beautiful flowers but as the eye follows the delicate contours of the myriad rose petals we are captured by the artist's deft brush and sensitive colour.1 O. Mentzafou-Polyzou., 'Still Life and Flower Paintings, a Constant Occupation', in Iakovidis, a Retrospective, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2005, p. 263.For further information on this lot please visit Bonhams.com
Yiannis Moralis (Greek, 1916-2009)Femme nue assise signé en grec (en bas à droite)huile sur toile76.5 x 40cm (30 1/8 x 15 3/4in).signed in Greek (lower right) oil on canvasFootnotes:The female nude has always been a key subject in Moralis's art, expressing an enduring world beyond the mundane and the ephemeral, and achieving a modern realization of the classical ideal: the elimination of the temporary and the elevation of forms to symbols.In Seated nude, the purity of form, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, the composed immobility, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek art. By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis leads the viewer from the sensual aspects of the subject to the universal and eternal, to the metaphysical and transcendental. Reviewing the artist's work up to the late 1950s, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. 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
Théodore Jacques Ralli (Greek, 1852-1909)La Captive signé et daté 'Ralli 85' (en bas à droite)huile sur toile60 x 81.5cm (23 5/8 x 32 1/16in).Peint en 1885signed and dated (lower right) oil on canvasFootnotes:ProvenancePalais des Beaux-Arts, Brussels, 18 November 1970, lot 14 (as La jolie prisonnière)Galerie Kourd, Athens.Private Collection, New York (purchased from the above).Sotheby's London, The Greek Sale, 14 November 2007, lot 19.Purchased at the above sale by the present owner.ExposéLiverpool, Liverpool Autumn Exhibition, Walker Art Gallery, 1885, no. 414, under the title Turkish Plunder.London, Hollender and Cremetti gallery, 1886 (based on the artist's notebook entry).Newcastle, 1886 (based on the artist's notebook entry).LittératureThe artist's notebook.M. Katsanaki, Le Peintre Théodore Ralli (1852-1909) et son Œuvre, doctoral dissertation, Université Paris I - Panthéon-Sorbonne, 2007, no. 70, pp. 130, 168, 171, 172, 176, 177, 286, 287 (mentioned and discussed), fig. 82 (illustrated).M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 200 (discussed), vol. II, fig. 66 (illustrated).M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, no. 57, pp. 135-139 (discussed), p. 350 (catalogued), p. 137 (illustrated).A museum-worthy masterpiece whose auction appearance happily coincides with this year's bicentennial celebrations of the Greek Revolution, this exquisite large-scale painting of superb craftsmanship and solemn restraint captures the hearts and minds of Greeks and philhellenes alike.Inspired by the Ottoman Occupation era, when Greece was in shackles, the scene unfolds in an old Greek Orthodox church. As noted by Athens National Gallery curator M. Katsanaki, who provides a full description of the work in her monograph on the artist,1 the protagonist is a beautiful young peasant woman in her traditional costume who has been taken captive. With her hands tied, she stands on a slate-paved floor next to a wooden church pew. Flooded by an invading light, her glowing figure strongly contrasts with the dark interior on the left side and the dimly lit sacred images on the weathered wall behind her, which, faintly portrayed, loom as transcendental presences. Next to her, on the floor, we see her overcoat, her betel bag and her distaff with the wool she was apparently spinning at the moment of her abduction. To the right, a multitude of looted items and valuable objects—fabrics, slippers, jewellery and a mother-of-pearl box—are lying in heaps. The young woman is the living plunder of the Ottoman conquerors, who are depicted sitting on overturned stools around the fire they have lit to complete the desecration of this place of worship. As they sit smoking under the arch with the symbol of the cross, the unholiness of their act is emphasised even further.2 Heavily armed and looking relaxed, they have propped up against the wall the banner with the crescent moon, which serves to define space and isolate the young victim, who is obviously doomed to be sent to some slave market in the East.Here, Ralli tackled a subject which touched a chord and lent itself to stirring the Greek and philhellenic hearts, while allowing him to meticulously concentrate on ethnographic detail and focus on features, appearances and outfits, endowing them with a monumental quality. Contrasts are underscored and invested with meaning: female-male, sacred-sacrilegious, Christian-infidel, Greek-Turk, cross-crescent, purity-barbarity, chastity-ignominy, weakness-power. These dot not, however, affect the artist's handling of pictorial issues. His distinctive elegance, discretion and refined palette are amply displayed. In his astonishing virtuosity, skilful use of subtle chiaroscuro and painstaking attention to detail (note the diligently rendered loot, the glowing firewood, and the flickering highlights caught on the Turk's garments and face) Ralli follows on the footsteps of his teacher Jean-Léon Gérôme, while showing an appreciation for the achievements of 17th c. Dutch realists, mainly in the organization and handling of pictorial space. Relying on balanced composition, harmony of colour values, tonal effect, solidity of form and an entirely personal spirit of discreet elegance that permeates the whole painting, Ralli achieves unity and fuses his narrative material into a refined and seductive work of art.Equally evident is his aim to avoid causing any extreme reaction on the part of the viewer. Nothing in the young woman's face or posture betrays the horror of disrepute; nothing in her flawless appearance and well-fitting clothes indicates that she is enraged or trying to resist and free herself. Her nobility and dignity are not shaken by fear or desperation. Instead, she has a sculptural immobility, recalling the timeless, idealised beauty of ancient Greek statues. Even at this moment of grave peril, the young Greek kore retains her humanity, transcending her individual specificity and venturing towards the archetypal and collective to take on a symbolic quality: the eternal struggle between liberty and oppression. For the European philhellene, the Greek cause represented not only the struggle for freedom, human rights and nationality, but also the struggle of the 'mother' of Western civilization to restore her former glory and carry the torch of enlightenment and reason. The look in the young woman's eyes, which silently seek out the viewer's compassion and support, establishes a subtle connection with the outside, free world, conveying the message that the Greek cause was ultimately a European cause. Instead of offering a mere spectacle to be passively looked upon, Ralli ingeniously invites the viewer to participate and emotionally engage in the scene, demonstrating his great skill as a genre painter. The theme of the female captive, and indeed the Greek woman who falls into the hands of the Turks, reappeared much late in Ralli's work, in a composition painted for the 1906 Salon titled The Booty, now in the collection of the National Gallery in Athens. With Turkish plunder (La Captive), Ralli offered a Greek version of the 19th century orientalist themes showing women in states of pain and despair, prey to the appetites of men in positions of power, as is the case with Hiram Powers' Greek slave, one of the most famous sculptures of the Victorian age. Very often such works were supposed to be representing scenes which had taken place in the distant past or at an unspecified time. On the contrary, Ralli was inspired by Greece's fairly recent history, echoing Delacroix and the philhellenic movement of the 1820s, and alluding to Nikiforos Lytras's famous Abducted maid (Y. Perdios collection, Athens) painted in 1873. When Ralli showed Turkish plunder there already existed in Europe a favourable climate for the reception of subjects inspired by the Ottoman occupation and the 1821 Uprising: 'Honour the heroes who through their epic valour inflicted, in this century, the first blows to the Muslim savagery and who, while delivering their homeland, helped to free Europe ... Also honour the artists who, with a throbbing heart and a paintbrush, know how to move us by retracing the noble boldness of their forefathers.'3 Recog... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Nicholas (Pavlopoulos) (Greek, 1909-1990)Chargez inscription (sur la base) bronze43 x 39 x 17 cm(16 15/16 x 15 3/8in x 6 11/16in).inscribed (on the base)Footnotes:ExposéAthens, Zappeion Hall, Exhibition of the Military History of Greeks, April 28 - October 30, 1968 (discussed, p. illustrated in the exhibition catalogue, vol. II, p. 524).Athens, Athinaiki Leschi, Balkan Wars, 30 October 2002.LittératureThe Sculpture of Nicholas, S.I. Tziropoulos editions, Athens 1962, p. 53 (illustrated).Athenian Club invitation diptych, October 2006 (illustrated on the cover).Rooted in the epic of the 1821 uprising and engraved in the Greek soul as a mythical figure and national symbol, the evzone1 took part in all national campaigns for independence and freedom. Here, portrayed in his signature kilt-like fustanella highland garb, Nicholas's charging evzone captures Greece's heroic and glorious stand against the fascist invasion in 1940-1941. 1 Select light-infantry and mountain units of the Greek Army.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
NO RESERVE Bowen (Elizabeth) Hubert Foss, John Cole and others. Soho Centenary 1844-1944 A Gift from Artists, Writers and Musicians to the Soho Hospital for Women, first edition, one of 250 copies signed by the contributors to front free endpaper, plates, very light foxing to pastedown and endpapers, original cloth, light fading to spine ends, dust-jacket, short tears to covers, spine ends chipped with minor loss, lightly soiled and marked, 8vo, 1944.⁂ Published at the time to raise funds for the Soho Hospital for Women and had contributions from writers, artists and musicians. Among the signatories are Noel Streatfield, artist William Nicholson, WW1 official war artist Eric Kennington, and Elizabeth Bowen.
NO RESERVE Charteris (Leslie) The Saint Goes On, ink ownership inscription to front endpaper, jacket spine head a little chipped, 1937; The Ace of Knaves, occasional light spotting, 1939; Call for Saint, fifth impression, 1951; and 11 others by the same, mixed editions, a couple with ink ownership inscriptions, original cloth, dust-jackets, some with small tears, others a little chipped and bumped, spines lightly sunned, 8vo (14)
NO RESERVE Coetzee (J.M.) Slow Man, signed by the author to title, 2005 § Golding (William) Rites of Passage, 1980, first editions, original boards, very light browning to endpapers, dust-jackets, second with wraparound band (creased at spine) and very minor chips to extremities, still both excellent or fine copies; and 17 others, literature, 8vo (19)
NO RESERVE Egerton (George) Keynotes, 1894 § Dostoievsky (F.) Poor Folk, translated by Lena Milman, 1894 § Lipsett (Caldwell) Where the Atlantic Meets the Land, 1896 § Allen (Grant) The Woman Who Did, 1895, all from Lane's Keynotes series, titles and cover designs by Aubrey Beardsley, original decorative cloth, first gilt, some light discolouring, some spines darkened but overall crisp copies, Boston and London, Roberts and Lane; and 26 others, mostly Keynotes series, 8vo & 4to (30)
![NO RESERVE Forester (C.S.) The General, 1936 § Guthrie (Ramon) Parachute, 1927 § [Bower (J. G.)] "Klaxon". On Patrol, 1919, f](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/590fed85-dec2-47dd-80fe-ad2100aebb53/468x382.jpg)
NO RESERVE Forester (C.S.) The General, 1936 § Guthrie (Ramon) Parachute, 1927 § [Bower (J. G.)] "Klaxon". On Patrol, 1919, first English editions, original boards, some with very minor fading to spine ends, dust-jackets, first extremities bumped and creased with minor chipping, others with light soiling but overall bright and crisp; and 7 others, First World War novels, 8vo (10)
NO RESERVE Greene (Graham) The Heart of the Matter, 1948; Our Man in Havana, 1958; A Burnt-Out Case, 1961, first editions, light browning to endpapers, original cloth, first and second lightly marked, dust-jackets, first stained and faded, light creasing to extremities, still overall bright copies; and 7 others by Greene, 8vo (10)
NO RESERVE Greene (Graham).- Publisher's poster.- Original Advertising Poster for 'The Third Man', original artwork in gouache heightened with white, mounted on letterpress poster base, small scuff to top left corner, light adhesive stains visible to poster where mount is coming away, small stain to upper border of poster base not affecting artwork, National Book League, artwork measuring 470 x 380mm, framed and glazed, [1950].⁂ Rare original artwork for a poster which probably hung in the foyer of The National Book League's office at 7 Albermarle St in Mayfair to promote the film The Third Man (1950) - a 1949 British film noir directed by Carol Reed, written by Graham Greene and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard.
NO RESERVE Mackenzie (Seaforth) Dead Man Rising, 1951 § Carlson (Eric Stener) The Saint Perpetuus Club of Buenos Aires, one of 300 copies, 2009, first editions, first with minor spotting to endpapers, original boards, dust-jacket, first with light spotting to lower panel, second in fine condition; and 8 others, horror fiction, 8vo (10)
NO RESERVE Mulford (Clarence) Hopalong Cassidy's Protégé, ninth edition, jacket small tear to foot of spine, 1933 § Joscelyn (Archie) Blue River Riders, first edition, 1945 § Brand (Max) Cleaned Out, small damp-stain to upper cover and jacket upper panel, 1942; and 22 others, all Western and frontier, a couple with ink inscriptions, some occasional spotting, original cloth, dust-jackets, slightly chipped and bumped, a few with small tears, some light toning, 8vo (25)
Nabokov (Vladimir) Lolita, jacket spine ends and corners a little chipped, some light rubbing and creasing, 1959; Invitation to a Beheading, jacket spine dulled, spine chipped at foot, some creasing to head and foot, New York, 1959; Despair, jacket with chipping to corners, short split to foot of upper joint, some chipping to foot of upper panel, light creasing to head and foot, New York, 1966; The Defense, jacket with light toning to spine, light surface soiling, light creasing to head and foot, New York, 1964, first English or American editions, original boards, dust-jackets; and 5 others by the same, 8vo (9)
NO RESERVE Rhys (Jean) Voyage in the Dark, 1934 § Lessing (Doris) This was the Old Chief's Country, 1951 § Byatt (A.S.) The Game, 1967 § Beauclerk (Helen) The Love of the Foolish Angel, illustrations by Edmund Dulac, 1929, first editions, some endpapers browned, last with light occasional spotting, original cloth, first a little faded and bumped, all but the first with dust-jackets, chipping to extremities, spine ends bumped and creased, some light browning to panels; and 13 others, women writers, 8vo (17)
Rhys (Jean) Wide Sargasso Sea, first edition, very faint foxing to endpapers, original boards, light bumping to spine ends and corners, dust-jacket, rubbing to tips of spine and corners, 2 short tears to head of upper panel with some accompanying creasing, an excellent example overall, 8vo, 1966.
![NO RESERVE "Sapper" [McNeile (H.C.)] Word of Honour, sixteenth edition, spine repair to jacket verso, 1935; The Man in Ratcat](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/f916a9a5-41b8-4698-9b20-ad2100adcd5a/468x382.jpg)
NO RESERVE "Sapper" [McNeile (H.C.)] Word of Honour, sixteenth edition, spine repair to jacket verso, 1935; The Man in Ratcatcher, twenty-eighth edition, 1934; Challenge, A Bulldog Drummond Novel, ink ownership inscription to title, 1939; and 12 others by the same, mixed editions, occasional spotting, including to some titles, original cloth, dust-jackets, some chipped or with small tears, some light discoloration, 8vo (15)
Shaw (George Bernard) The Adventures of the Black Girl in Search for God, first edition, signed presentation inscriptions from the author and artist to half-title, A.L.s. from the artist loosely inserted, illustrations by John Farliegh, original pictorial boards by Farliegh, slight bowing to upper cover, light rubbing to tips of spine and corners, an excellent copy overall, 8vo, 1932.
NO RESERVE Sitwell (Edith) Planet and Glow-Worm, 1944; The Canticle of the Rose: Selected Poems 1920-1947 1949, first editions, presentation inscriptions to L. P. Hartley from the author to front free endpapers, very light browning to second endpapers, original cloth, dust-jackets, light fading, minor chips and creases to extremities, light soiling to lower panel of first, still bright copies overall, 8vo (2)⁂ Edith and L. P. Hartley were friends for many years, and were avid correspondents. Hartley later included Edith Sitwell as a chapter in his literary treatise 'The Novelist's Responsibility', alongside Emily Bronte, Jane Austen, Henry James and Osbert Sitwell.
![NO RESERVE Verne (Jules) A Journey into the Interior of the Earth, pictorial frontispiece, jacket toned,[c.1940] § Harding (R](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/95a6b269-8533-4887-b539-ad2100ae7c70/468x382.jpg)
NO RESERVE Verne (Jules) A Journey into the Interior of the Earth, pictorial frontispiece, jacket toned,[c.1940] § Harding (Robert) Poison of Kali, first edition, colour frontispiece, some light foxing, 1939 § Operator 1384 [John H. Barrington] Queen of the Riffs, first edition, 1937, dust-jackets, some small tears to upper panels, chipped; and c.40 others, all adventure and exploration, some with ink inscriptions, original cloth, dust-jackets, a few torn and others chipped, some discolouration, 8vo (c.45)
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