![Portrait of Bhae Puran Singh, as a young Sikh Lady, Indian miniature painting on card [India (probably Punjab), c. 1890] sing](https://cdn.globalauctionplatform.com/9da861b5-ecb3-4cd5-b6b5-acf800fd979a/49cb4b66-ebc5-44bf-972d-ad1100fb9274/468x382.jpg)
Portrait of Bhae Puran Singh, as a young Sikh Lady, Indian miniature painting on card [India (probably Punjab), c. 1890] single leaf, ink and gouache heightened in gilt and silver, depicting the portrait of a young female Sikh holding up a handful of roses, dressed in fine robes with elaborate jewellery, image framed within white columns and an arch, set against a striking grey background, image ruled in red with yellow edges, inscription along the lower edge of the painting reading "Bhae Puran Singh" some very faint scuff marks, else excellent condition, reverse blank, 405 mm by 300 mm. Condition Report: A striking image of a young Sikh woman in her finery, dressed in brocade robes and draped in impressive jewellery. The inscription along the lower edge of this image is in English and appears to be contemporary to the painting itself, indicating that this may have been a commission by an English traveller in the late nineteenth century.Condition Report Disclaimer
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A polychrome lacquer papier-mâché pen case (qalamdan), Qajar, Iran, circa 1850, with rounded ends and sliding tray, the top painted with a vertical composition of the Holy Family, the sides with figures interspersed by four portrait roundels, the sides of the red sliding tray with gold scrolling vine, 22.5cm longProvenance: From a private London collection and inherited by the current owner Condition Report: chip to lacquer at one on upper rim end approximately 6mm x 5mm and some wear to interior gilding possibly re-varnished?Condition Report Disclaimer
An Islamic market ruby flash scent bottle and stopper, 19th century, probably depicting Naser al Din Shah Qajar, 14.5cm high Provenance: From a private London collection and inherited by the current owner Condition Report: some wear to portrait and two of the applied glass beads chipped offCondition Report Disclaimer
Portrait of Fath Ali Shah Qajar, Iran, circa 1821-35, after an 1819 sketch by Robert Ker Porter, ink drawing on paper, frayed at the edges, 22.2cm x 19cm Provenance: Sotheby's, Arts of the Islamic World, 14th October, 1999, lot 56 and by family descent to the current owner.Condition Report: frayed at edges and some wear and marks commensurate with age Condition Report Disclaimer
A Qajar court scene, Iran, 19th century, ink and opaque pigments on paper, with four lines of black nasta'liq within two cartouches, 23.5 x 14cm, framed and Layla visits Majnun in the Wilderness, Iran, Qajar, 19th century or later, Ink and opaque pigments on paper, the border with 6 cartouches with nasta'liq writing, 23.5 x 17.5cm; A ruler receiving an audience, Iran, 20th century, ink and opaque pigments on paper, heightened in gold, framed, 26 x 19cm. to mount; Portrait of a seated man, Iran, 20th century, Ink and opaque pigments on paper, with a spurious date (1038 AH), 23.5 x 15.5cm, framed (4) Provenance: Private collection recently removed from Knightsbridge, London and by family descent. Condition Report: some damages, folds and stains throughout sold as viewed and please ask for additional images for visual reference to condition as this lot sold as viewed and those items that are framed have not been examined outside framesCondition Report Disclaimer
British 18th & 19th Century token coins, includes Shropshire halfpenny 1792 Coalbrook (Keatley edge), Hampshire halfpenny Portsea 1794, Suffolk Beccles halfpenny 1795, Gloucestershire Thames & Severn Canal Halfpenny 1795 Brimscombe Port,Warwickshire Shakespeare halfpenny (harp rev).Lincolnshire Wainfleet halfpenny 1793, Cheshire Macclesfield 1791 halfpenny Charles Roe portrait,Warwickshire John Wilkinson Iron Master 1791 halfpenny (workshop type), Warwickshire John Wilkinson Iron Master 1793 halfpenny (foundry type),Middlesex Prince of Wales 1795 halfpenny, Shrewsbury 1793 halfpenny, Middlesex Social &Political 1790s halfpenny Isaac Newton bust.
The Ryedale Ritual Bronzes. A unique assemblage of Roman ritual artefacts from Yorkshire.In May 2020, approximately 20 miles north of York, the Roman city of Eboracum, two friends Mark Didlick and James Spark unearthed an amazing assemblage of Roman bronze-work. Consisting of a large bust, a horse and rider figurine, a zoomorphic knife handle and a pendulum, this assemblage almost certainly represents a set of ritual equipment, buried as one deposit in the closing decades of the second century AD either at, or very close to, a rural temple or shrine site.BustThe 130mm high bronze bust, with its flamboyant hair and curly, forked beard appears to represent Marcus Aurelius. Emperor AD 161-180, philosopher and author, his reign followed those of Nerva, Trajan, Hadrian and his adoptive father, Antoninus Pius. He earned his place in Roman hearts as the last of the ‘Five Good Emperors’ whose consecutive rules oversaw a period of relative peace and prosperity in Rome. The bust is hollow, cast using the lost wax method and very finely modelled. Although the portrait is somewhat stylised, with large almond-shaped eyes, close similarities can be seen with some other depictions of the Emperor, notably the bronze equestrian statue of Aurelius in the Piazza del Campidoglio, Rome, and the full-length figure in the Ny Carlsberg Glyptotek, Copenhagen. The back of the head has a hinged plate which opens like a trap door to reveal the interior, possibly designed as such to allow the placement of a flaming lamp inside to bring life to the eyes. https://en.wikipedia.org/wiki/Equestrian_Statue_of_Marcus_Aureliushttps://www.worldhistory.org/image/2406/marcus-aurelius-statue-ny-carlsberg-glyptotek/A similar head was found at Brackley, Northamptonshire in the 1970’s and now features on the homepage of the Portable Antiquities Scheme website. The head is hollow-cast and has cobalt blue glass inlaid into the eyes. The PAS record BERK-E24C84 states: ‘The small number of heads or busts cast in bronze and found in Britain share characteristics such as slanting eyes and the textured patterning of the hair identifies them as the products of a provincial Romano-British workshop. The Brackley head can be dated to the mid-late second century AD by its resemblance to images of Antonine emperors, especially Marcus Aurelius. It may perhaps be inappropriate to suggest that the head from Brackley represents the local rendering of an imperial portrait, but a profile image on a coin portrait of Marcus Aurelius might have been its inspirations.’ https://finds.org.uk/database/artefacts/record/id/252426Around 20 bronze heads/busts are known from Roman Britain, depicting various gods and emperors and they are thought to be mounts from the tops of sceptres. These sceptres would have been carried by priests and used for divination and the performance of rituals.Mars statuette.A cast bronze figurine of a rider on horseback, probably representing the God Mars. The horse and rider are well modelled, the horse harness with attached phalerae and reins clearly visible, though the latter are broken. Mars, wearing a helmet, short-sleeved tunic and pleated skirt, belted at the waist, sits astride the horse with his right arm raised to hold a spear. The left arm is held in front, bent at the elbow and the simple form of the forearm indicates it would have been held behind a shield, hidden from view. No traces of a shield were found in the hoard and it is possible that this was made from organic material. The horse has its right foreleg raised and the other legs have small pegs on the base of the hooves, indicating that the figurine would have been fixed into a plinth. It is often the case with votive deposits that figurines are interred without their bases or sometimes a pedestal is included with no accompanying figurine. 86.8mm high. 222g.Knife handle. A solid bronze knife handle in the form of a horse protome (the foreparts of a horse). The horse is well modelled with its front legs outstretched and head forward, as though leaping. PAS suggest that ‘The presence of the horse protome... might also be explained through its secondary use as a substitute votive for animal sacrifice.’ The symbolism may not end there, this may have been a knife using in rituals of animal sacrifice or divination through the examination of animal entrails.Pendulum/plumb bob. A large bronze conical plumb bob or pendulum measuring 72mm long, 40mm diameter and weighing 282g. The top is decorated with concentric circles and at the centre is a mushroom-shaped projection, which is pierced both vertically and horizontally for attachment to a line. Such items were an important tool for surveyors and architects and it has been suggested that this could be a votive offering relating to a new building project or the surveying of the landscape, More likely, however, is that the pendulum was used for the purposes of divination and predicting the future.The find was taken to York museum where it was recorded with the Portable Antiquities Scheme, reference number: YORYM-870B0E. Under current legislation this find did not fulfil the criteria to qualify as ‘Treasure’ so the hoard was returned to the finders. https://finds.org.uk/database/artefacts/record/id/1013510Other examples of similar ritual deposits from Roman Britain include.The Felmingham Hall Hoard: This hoard from Norfolk was discovered in 1844 and consisted of a large ceramic cauldron containing 19 bronze items. The contents included a sceptre heads depicting Jupiter and Minerva along with other figures of gods and animals, along with a ritual rattle used for divination purpose. This hoard has been interpreted as a symbolic ‘end of life’ votive deposit possibly signifying the closure of the shrine to which they belonged. A coin of Valerian inside the cauldron dates the hoard to the mid third century AD.https://www.britishmuseum.org/collection/object/H_1925-0610-1Willingham Fen Hoard: At Willingham Fen in 1857, another hoard of priestly regalia was found. This included horse and rider figurines, five broken sceptres, including handles and terminals, and a large bronze sceptre head depicting the emperor Antoninus Pius. These items were contained within a wooden box. It was suggested that the head of Antoninus was crafted after the Emperor was deified, justifying his presence atop a sceptre in a position usually reserved for the gods. https://www.jstor.org/stable/297703?seq=1The Ryedale bronzes offer a tantalising insight into the religious practices of Roman Britain in the 2nd century. The items themselves were obviously held in high esteem and from other examples of ritual hoards we can see that such deposits were not infrequent occurrences. We can theorise that these objects were the property of one priest, his tools of communication with the Gods, and were no longer needed in the mortal realm once the priest passed on. In his book Meditations Marcus Aurelius wrote ‘What we do now echoes in eternity.’ Famously paraphrased by General Maximus in the opening scenes of Gladiator, this still holds true today as the events around a rural shrine in Ryedale echo forward into the 21st century.(Text reproduced with from The Searcher magazine June 2021 issue pp.20-23).For further information see Esposito (2019) Performing the Sacra: Priestly Roles and Their Organisation in Roman Britain.
Churchill (Winston S.) London to Ladysmith via Pretoria, 1st edition, London: Longmans, Green and Co., 1900, 3 folding maps and plans (frontispiece map with closed marginal tear and outer margin frayed), 2 pp. advertisement and 32 pp. catalogue at rear, a little light spotting, front endpaper browned with contemporary previous owner inscription, front hinge a little tender, original pictorial cloth, spine lightly toned with small tears at ends, light marks to lower cover, slight lean, 8vo (Woods A4a), together with Ian Hamilton's March, 2nd edition, London: Longmans, Green and Co., 1900, portrait frontispiece, folding map, advertisements and catalogue at end, endpapers toned, contemporary presentation inscription at front, original cloth, spine a little faded and rubbed at ends, 8vo, with 3 others: The Story of the Malakand Field Force, new edition, 1899, G.W. Steevens' From Capetown to Ladysmith, 3rd impression, 1900 and John Black Atkin's The Relief of Ladysmith, 1st edition, 1900 (lacking front endpaper)Qty: (5)
Wurtzburg (C.E.) The History of the 2/6th (Rifle) Battalion "The King's" (Liverpool Regiment), 1914-1919, Aldershot: Gale & Polden, 1920 portrait frontispiece, folding maps contained in rear pocket, maps and illustrations, original green cloth gilt, covers slightly bowed, 4to, together with Yardley (J. Watkins). With the Inniskilling Dragoons. The Record of a Cavalry Regiment during the Boer War, 1899-1902, 1st edition, London: Longmans, Green and Co., 1904, portrait frontispiece, folding map, illustrations, 40 pp. catalogue at end, inscribed "From the Officers Inniskilling Dragoons, June 6th 1904" to title verso, endpapers toned, top edge gilt, original polychrome cloth gilt, corners a little bumped, 8vo, plus Graham (Henry). History of the Sixteenth, the Queen's Light Dragoons (Lancers) 1912 to 1925, Devizes: privately printed by George Simpson, 1926, illustrations, folding maps contained in rear pocket, top edge gilt, original cloth, spine faded, 4to, with others related including Walter Willcox's The Historical Records of the Fifth (Royal Irish) Lancers, 1908, Frank Reynard's The Ninth (Queen's Royal) Lancers 1715-1903, 1904 and Godfrey Williams's The Historical Records of the Eleventh Hussars Prince Albert's Own, 1908 (rebound)Qty: (10)
* A WWII group to Squadron Leader W.F. Danton, Auxiliary Air Force and Royal Air Force at the outbreak of the Battle of Britain was serving with 928 Squadron and shortly after 901 Squadron in London during the Blitz Defence and War Medals, 1953 Coronation Medal, Air Efficiency Award, G.VI.R. (Act Sqn. Ldr. W.F. Danton. A.A.F.), extremely fine, mounted for wear, with miniature dress awards, black and white photograph of the recipient in full dress earing medals, commission certificate dated 13 June 1939, framed and glazed, a watercolour portrait of the recipient signed Jean Tyler and dated 1945 lower right, 36 x 25cm, laid on board and period oak frame, watercolour squadron badge of 902 (City of London) Balloon Squadron, framed and glazed plus a silver sporting fob, the reverse engraved '4th Middx Cadets Rowing Compt 1920 W. Danton (Stroke)'Qty: (4)NOTES90917 Squadron Leader William Frederick Danton, AAF & RAF was born in Forest Hill, London in 1902, he was educated at Latymer School, Hammersmith. He joined the 4th Territorial Cadet Battalion, Middlesex Regiment in 1917, commissioned 2nd Lieutenant in Honourable Artillery Company 1925, discharged in December that year. Danton re-engaged for service at the start of WWII serving with 902 (County of London) Squadron, on 6 May 1940 he served with 928 Squadron (Harwich Barrage), in June he transferred to 901 Squadron, and in October 1940 - July 1941 the 1 Balloon Centre, various other duties throughout the remainder of WWII including Squadron Leader of 1 Officer School, Uxbridge in May 1942, he was released from service on 8 August 1945.
An 19th Century drinking glass in the 18th Century Newcastle Baluster style with a round funnel bowl engraved with a portrait panel and a sailing boat opposing, above a complex stem with a multiple series air twist upper section with double knop above a hollow blown inverted baluster lower section with basal knop, raised to a shallow conical foot, height 21cm.
BRITISH SCHOOL (19TH CENTURY) - A collection of portrait miniatures on ivory, the first painted after Romney depicting Lady Hamilton, 8.5cm x 7cm, in giltwood oval frame, a portrait miniature titled and dated Archibald Robson, March 10th, 1835, 16 months old, 5.5cm x 4.5cm, in ebonised wooden frame, Countess of Dudley, E. Upton, 12cm x 9cm, unsigned, within silver hallmarked frame, and Lucy van Nassau van Zuylestein, Countess of Rochford, dated 1864, 8cm x 6cm, in ebonised frame. (4)
* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972), LONDON NIGHT OUT - MR & MRS J.B SOUTER oil on board, attributed label verso 35cm x 25cm Mounted, framed and under glass. Provenance: Rendezvous Gallery, Aberdeen where exhibited in "John Bulloch Souter, A Retrospective Studio - Archive Exhibition" 23rd September - 22nd October 2016. Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.
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.
Theofilos Hadjimichael (Greek, 1871-1934)Le héros intrépide Katsantonis titré en grec (en haut à droite) pigments naturels sur panneau 74.5 x 30cm (29 5/16 x 11 13/16in).titled in Greek (upper right) natural pigments on woodFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 26 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 21 (listed in the exhibition catalogue).LittératureElefthera Grammata magazine, no. 63, March 25, 1947, p. 88 (illustrated).Epitheorisi Technis magazine, no. 16, April 1956 (illustrated on the front cover).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 177 (illustrated). Y. Tsarouchis, ed., Theofilos, Commercial Bank of Greece editions, Athens 1966, no. 56 (illustrated).C. Michiotis, Our Greece, Kastalia editions, Athens 1966, p. 441 (illustrated).E. Petropoulos, Rembetika Songs, Athens 1968, p. 415/20 (illustrated).Istoria magazine, no. 72, June 1974, p. 4, detail (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 21 (illustrated).Lexi magazine, no. 172, November-December 2002, p. 922 (discussed).D. Stamelos, Katsantonis, Estia editions, Athens 2004 [1980], p. 297, f.n. 4 (mentioned), p. 303 (illustrated).S. Sorogas, Aesthetic Geography, Stigmi editions, Athens 2006, p. 77 (discussed).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 106 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 229, no. 9 (listed).Magnisia magazine, no. 11, November 2008, p. 19, no. 10 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 101, 163 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionDisplaying Theofilos's fascination with the history and legend of the 1821 uprising, this captivating work, which pays homage to one of the great figures of pre-revolutionary Greece, featured as a cover illustration in the April 1956 issue of the influential Epitheorisi Technis art review. The artist Sotiris Sorogas recalls: 'I first saw a painting by Theofilos on the cover of an Epitheorisi Technis journal, during the first years of my studies, that is before 1960. It was hero Katsantonis with a musket on his fustanella kilt, holding a small pandouris, a string instrument almost identical to a modern day baglamas.'1The legendary klepht Katsantonis (1873/5-1807/8), who was a constant source of inspiration throughout the artist's career, is portrayed at a moment of leisure, possibly after a victorious battle, playing his beloved pandouris in an unspoiled natural environment, possibly the ravine on Mt. Tzoumerka where according to local lore he defeated the troops of Velingekas, Ali Pasha's henchman.The intrepid hero, whose depiction is a synthesis of diverse sources, is identified as such not only by the inscription on the upper right but also by pictorial means: he is handsome, sporting a large moustache, a flintlock musket (kariofili) resting on his lap. For Theofilos, a true Katsantonis is unthinkable without his ubiquitous kariofili and his signature fustanella kilt, the same highland garb as the painter himself wore when he left Smyrna for Athens to voluntarily enlist to fight in the 1897 war against Turkey.1 S. Sorogas, 'On Theofilos', Lexi magazine, no. 172, November-December 2002, p. 922.Témoignant de la fascination de Theofilos pour l'histoire et la légende de la révolte de 1821, cette œuvre captivante, qui rend hommage à l'une des grandes figures de la Grèce prérévolutionnaire, a illustré la couverture du numéro d'avril 1956 de la revue artistique Epitheorisi Technis. L'artiste Sotiris Sorogas rappelle : « J'ai vu pour la première fois une œuvre de Theofilos sur la couverture de la revue Epitheorisi Technis, au début de mes études, c'est-à-dire avant 1960. Elle représentait le héros Katsantonis portant un mousquet sur sa fustanelle et tenant un petit pandouris, qui est un instrument à cordes pratiquement identique au baglamas de l'époque moderne ».1Le héros intrépide Katsantonis (1873/5-1807/8), qui a été une source constante d'inspiration pendant toute la carrière de l'artiste, est représenté ici pendant un moment de détente, probablement après une bataille victorieuse, jouant de son cher pandouris dans une nature intacte, probablement le ravin du Mont Tzoumerka où, selon la tradition locale, il a défait les troupes de Velingekas, homme de main d'Ali Pasha.Le héros intrépide, dont le portrait est la synthèse de sources diverses, est identifié comme tel non seulement par l'inscription qui figure en haut et à droite, mais également par des moyens picturaux : il est beau, arbore une grande moustache, et tient un mousquet à silex (kariofili) sur son genou. Pour Theofilos, il est impensable de représenter le vrai Katsantonis sans son éternel kariofili et sa fustanelle, le même type de kilt que celui que le peintre portait lui-même lorsqu'il a quitté Smyrne pour Athènes afin de s'enrôler volontairement pour combattre dans la guerre de 1897 contre la Turquie.For further information on this lot please visit Bonhams.com
Thalia Flora-Caravia (Greek, 1871-1960)L'artiste dans son studio huile sur toile103 x 79cm (40 9/16 x 31 1/8in).Peint vers 1903oil on canvasFootnotes:ProvenancePrivate collection, Istanbul. Yannis Perdios collection, Athens.ExposéAthens, National Gallery and Alexandros Soutzos Museum - Mount Sinai Foundation, Treasures of Modern Greek Art, The Yannis Perdios Collection, December 9, 1998 - March 15, 1999, no. 95 (discussed, p. 170, catalogued, p. 308, and illustrated in the exhibition catalogue, p. 171).Washington, D.C., Mariner S. Eccles Federal Reserve Board Building, The Emergence of Modern Greek Painting 1830-1930 from the Bank of Greece Collection [and from several private collections in Athens], September 30 - December 3, 2002, no. 22 (discussed, p. 10, and listed, no. 5, p. 14, in the exhibition brochure; and discussed, pp. 17, 72, catalogued, p. 117, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, The Emergence of Modern Greek Painting 1830-1930, February 18 - March 30, 2003, no. 22 (listed, no. 38, in the exhibition brochure; and discussed, p. 72, catalogued, no. 38, p. 119, and illustrated in the exhibition catalogue, p. 73).Athens, Megaron - The Athens Concert Hall, C.P. Cavafy, his World and the Art Forms of his Time, November 2003 - January 2004, no. 70 (discussed and illustrated in the exhibition catalogue, p. 78). LittératureEthnos newspaper, January 20, 1960 (illustrated).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 164 (listed).D. Tsouryanni, The Painter Thalia Flora Karavia (1871-1960), doctoral dissertation, University of Athens, Athens 2002, pp. 40-41 (discussed), fig. 35 (illustrated).D.M. Tsouryanni, Thalia Flora Karavia 1871-1960, Athens 2005, no. 16, p. 51 (discussed), p.133 (catalogued), p. 52 (illustrated).Griechische Künstler in der Müncherer Akademie im 19. Und 20. Jahrhundert, exhibition catalogue, Tellogleion Art Institute, Thessaloniki 2006, p. 200 (illustrated).D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, no. 57, pp. 98-102 (discussed), p.199 (catalogued), p. 99 (illustrated).Istoria tis Technis magazine, no. 6, Summer 2017, pp. 98-100 (discussed), p. 99 (illustrated).A precious jewel in the stellar collection of Yannis Perdios, 'this self-portrait which Thalia-Flora-Karavia painted in 1903, while in Paris, is one of the artist's finest efforts in the field of portraiture. A work of restrained yet excellent technique, is also an outstanding and penetrating psychological portrayal,'1 notes art historian D. Tsouryianni, author of the artist's monograph.Discussing the painting further, the scholar describes it as an almost full-length portrait of the artist, depicted in three-quarter profile, seated in front of her easel and holding her palette and brushes. A second easel suggests that the setting is a painter's studio. In terms of colour scheme, one notices the harmonious distribution of tones—darker at the bottom and increasingly lighter towards the top—culminating in the white lace trimming of her collar and the remarkable chiaroscuro effect on her face. Equally disciplined is the compositional structure, with the strong diagonals of the easels counterbalanced by the inversely inclined diagonal of her palette.D. Tsouryianni continues by noting that the energetic posture, which calls to mind the self-portraits of Titian and Rembrandt, transforms the figure from a passive object into an active subject. Particular emphasis is placed on the sitter's lucid, penetrating gaze, which best describes her disposition. Full of confidence and asserting herself as an artist, she is ready to make her entrance into a male-dominated field. Instead of resorting to sentimentality and idealisation, so evident in the self-portraits of such women artists as Angelika Kauffmann and Elisabeth Vigée-Lebrun, she ventured to depict herself with all her painting equipment, thus emphasizing her view of herself as a fully aware and accomplished artist. Born in Siatista, Northern Greece, and raised in Constantinople, Thalia Flora-Karavia studied art in Munich from 1895 to 1900. Her teachers included Nikolaos Gysis and Nikolaos Vokos. Restless and energetic, she travelled extensively across Europe, and to Asia Minor and Egypt, seeking to expand her thematic repertoire and develop her own style. During the Balkan Wars of 1912-13, she followed the operations of the Greek Army in Macedonia and Epirus, capturing the lives of the soldiers in fine drawings and sketches. 1 The Emergence of Modern Greek Painting 1830-1930, exhibition catalogue, Washington and Athens 2002-2003, p. 73. See also D.M. Tsouryanni, Thalia Flora-Karavia, Peak editions, Athens 2018, pp. 98-102.Précieux joyau dans la superbe collection de Yannis Perdios, « cet autoportrait que Thalia-Flora-Karavia a peint en 1903, pendant son séjour à Paris, est l'une des plus belles œuvres de l'artiste dans le domaine du portrait. Une œuvre procédant d'une technique sobre mais excellente, qui est également un portrait psychologique exceptionnel et pénétrant », note l'historien de l'art D. Tsouryianni, auteur de la monographie de l'artiste.Poursuivant l'analyse de l'œuvre, D. Tsouryianni la décrit comme un portrait presque en pied de l'artiste, représentée de trois quarts, assise face à son chevalet et tenant sa palette et ses brosses. Un second chevalet suggère que la scène se situe dans l'atelier d'un peintre. La palette se distingue par la distribution harmonieuse des couleurs – plus sombres dans le bas de la toile et de plus en plus claires vers le haut – culminant dans le blanc de la dentelle de son col et le remarquable effet de clair-obscur sur son visage. La structure de la composition est parfaitement disciplinée, les puissantes diagonales des chevalets étant contrebalancées par la diagonale inversée de sa palette.D. Tsouryianni poursuit en notant que la posture énergique, qui évoque les autoportraits du Titien et de Rembrandt, a pour vertu de transformer le personnage, lequel n'est plus un objet passif mais devient un sujet actif. Un accent particulier est mis sur le regard lucide et pénétrant du sujet, qui traduit au mieux son état d'esprit. Pleine de confiance et s'affirmant elle-même comme une artiste, elle est prête à faire son entrée dans un domaine dominé par les hommes. Plutôt que de recourir à la sentimentalité et à l'idéalisation, si évidentes dans les autoportraits d'artistes femmes comme Angelika Kauffmann et Elisabeth Vigée-Lebrun, elle ose se peindre elle-même avec tout son matériel de peinture, soulignant ainsi qu'elle se considère pleinement comme une artiste accomplie.Née à Siatista, dans la Grèce du nord, et élevée à Constantinople, Thalia Flora-Karavia a étudié l'art à Munich entre 1895 et 1900. Ses professeurs ont été notamment Nikolaos Gysis et Nikolaos Vokos. Avide de mouvement et débordante d'énergie, elle a voyagé dans toute l'Europe et jusqu'en Asie Mineure et en Égypte, cherchant à enrichir son répertoire thématique et à développer son propre style. Pendant les Guerres des Balkans de 1912-13, elle a suivi les opérations de l'armée grecque en Macédoine et dans l'Épire, saisissant sur le vif l'existence des soldats dans de nombreux dessins et esquisses de grande qualité.... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Theofilos Hadjimichael (Greek, 1871-1934)Le héros Odysseas Androutsos titré en grec (en haut) pigments naturels sur carton63 x 44cm (24 13/16 x 17 5/16in).titled in Greek (upper part) natural pigments on cardboardFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 25 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 20 (listed in the exhibition catalogue).LittératureY. Tsarouchis, ed., Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 57 (illustrated).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 183 (illustrated). O. Elytis, The Artist Theofilos, Asterias editions, Athens 1973, p. 81 (illustrated).Epikaira magazine, no. 354, May 15, 1975, p. 74 (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 19 (illustrated).Aeolika Grammata magazine, no. 80-81, March-June 1984, p. 192h (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 97 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 228, no. 18 (listed).Magnisia magazine, no. 11, November 2008, p. 18, no. 32 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 162, 169 (illustrated).L. Vassis, ed., Klephtic Songs and National Uprising, Geitonas School - Endelecheia Society edition, Athens 2014, p. 26 (illustrated).Stilida News newspaper (e-edition), June 5, 2017, p. 1 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionCaptured in a vibrant palette of dazzling, enamel-like yellows, blues and reds, this disarmingly captivating portrait showcases Theofilos's lifelong fascination with the 1821 Greek War of Independence, paying homage to a giant of the uprising. A celebrated hero and acute military mind, Odysseus Androutsos (1788/9-1825) was a brave and fierce klepht (brigand) who achieved legendary status when in May 1821, along with a band of 100 men, held back for days a force of more than 3,000 Turks led by Omer Vrionis at the pass of Gravia, preventing their descent to the Peloponnese. The frontal poise, direct gaze, pronounced linearity and total negation of three-dimensionality stem directly from the long tradition of Byzantine icon painting, transforming the young hero into a saint of a Modern Greek pantheon. The simplified design, pronounced linearity, inner dignity and purity of form are also reminiscent of Fayum portraiture, while foreshadowing the signature male portraits of Yannis Tsarouchis. This entrancing work relies not only on its heroic subject but also on purely formal and pictorial means to stir deep emotions. Enchanted by the epic 1821 uprising, Theofilos left his indelible mark as one of the forerunners of Modern Greek culture, much the same as General Makriyannis and novelist Alexandros Papadiamantis. The power, immediacy and disarming sincerity of his art smashed the confines of academicism and proved to be a key for defining and giving expression to the true face of Greece.Ce portrait captivant, qui exerce une fascination désarmante, réalisé dans une palette vibrante de jaunes, de bleus et de rouges éclatants et comme laqués, témoigne de la longue fascination de Theofilos pour la Guerre d'indépendance grecque de 1821, et rend un vibrant hommage à un géant de la révolte. Héros célébré et grand stratège militaire, Odysseus Androutsos (1788/9-1825) était un brave et fier klepht (brigand) qui est devenu une légende lorsqu'en mai 1821, aux côtés d'une troupe de 100 hommes, il a refoulé pendant des jours une armée de plus de 3.000 Turcs conduite par Omer Vrionis dans le défilé de Gravia, l'empêchant de descendre vers le PéloponnèseLa représentation de face, le regard direct, la linéarité prononcée et la négation totale de la tridimensionnalité sont autant d'héritages directs de la longue tradition de la peinture d'icônes byzantines, qui transforment le jeune héros en un saint du panthéon grec moderne. Le dessin simplifié, la linéarité prononcée, la dignité intérieure et la pureté de la forme rappellent également les portraits du Fayoum, tout en préfigurant les portraits d'homme de Yannis Tsarouchis. Cette œuvre exerce une séduction évidente, qui ne tient pas seulement au sujet héroïque qu'elle représente mais également aux moyens purement formels et picturaux employés pour déclencher de profondes émotions.Enchanté par la révolte épique de 1821, Theofilos a laissé une marque indélébile comme l'un des précurseurs de la culture grecque moderne, comme le Général Makriyannis et le romancier Alexandros Papadiamantis. La puissance, l'immédiateté et la sincérité désarmante de son art ont fait sauter les frontières de l'académisme et ont joué un rôle clé pour définir et exprimer le véritable visage de la Grèce.For further information on this lot please visit Bonhams.com
Théodore Jacques Ralli (Greek, 1852-1909)Intérieur de maison signé 'Ralli' (en bas à gauche)huile sur toile38 x 46.5cm (14 15/16 x 18 5/16in).signed (lower left) oil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, 23 November 2010, lot 16.Acquired from the above sale by the present owner.LittératureM. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 210 (mentioned), vol. II, fig. 291 (illustrated).Born in Constantinople of Greek parents, Ralli studied in Paris in the atelier of the leading pompier painter of the time, Jean-Léon Gérôme. He exhibited regularly at the Salon de Paris and was enthusiastically received by the French critics. Although his later work is characterized by scenes of the exotic world of the East and of Greece, his earlier work is comprised mostly of genre scenes. Ralli was always interested in how people lived, their customs and traditions. In this interior scene Ralli provides a rare glimpse of a middle class sitting room of the late 19th century. Focusing on the furnishings in the present work, Ralli provides numerous hints as to the economic and social standing of the occupants, creating a 'portrait' of their lives. The shelves lined with books, the ormolu clock, candelabra, paintings and carpets point to a family of means and education. With his characteristic attention to detail, Ralli has not only captured the cordial atmosphere of a corner of a sitting room, but has also provided a valuable visual record of a domestic interior of his time.For further information on this lot please visit Bonhams.com
NO RESERVE Poetry.- Campbell (Roy) Flowering Reeds: poems, lacking front free endpaper, 1933 § Betjeman (John) A Few Late Chrysanthemums, 1954 § Morgan (Evan) At Dawn: Poems, Profane and Religious, portrait, some foxing, 1924 § Le Gallienne (Richard) English Poems, one of 800 copies, original boards, uncut, London & New York, 1892, first editions, all but the last original cloth, the first two with dust-jackets, all a little rubbed and soiled; and c.75 others, mostly modern poetry, 8vo & 4to (c.80)
West (Rebecca) Henry James, first edition, signed presentation inscription from the author to Bethel Solomons dated 1978 to endpaper, portrait frontispiece, browning and ink ownership inscription to endpaper, original cloth, light browning to spine, spine ends and corners a little frayed, extremities rubbed, 8vo, 1916.⁂ The author's first book.
Thomas (Dylan) Twelve More Letters, copy "Z" of 26 lettered copies from an edition limited to 175, mounted photographic portrait, original brown buckram, 1969 § Causley (Charles) Timothy Winters, music by Wallace Southam, number 98 of 100 copies, signed presentation inscriptions from the author, illustrator and composer to Eleanor Hollack, illustrations by Ralph Steadman, original pictorial wrappers, 1970 § Durrell (Lawrence) On the Suchness of the Old Boy, number 200 of 226, signed presentation inscription from the author and signed ink drawing from the illustrator, printed in red and black, illustrations by Sophie Durrell, original pictorial wrappers, 1972, Turret Books; and 2 others, Turret Books, 4to (5)
NO RESERVE Plon (Eugene) Benvenuto Cellini: Orfévre, Médailleur, Sculpteur, portrait frontispiece, plates, some photogravure on india paper and mounted, small loss to front free endpaper, original morocco-backed decorative cloth, gilt, g.e., a little rubbed, bumping to corners an spine extremities, folio, Paris, 1883.
Evelyn (John) Silva: or, a Discourse of Forest-Trees..., edited by A.Hunter, 2 vol., fourth edition, half-titles, engraved portrait by Bartolozzi and 45 engraved plates by J.Miller, 2 folding, some foxing and offsetting, slight worming towards end of vol.2, bookplate of Melville Portal of Laverstoke, contemporary sprinkled calf, by F.Bedford for B.M.Pickering, covers with triple gilt fillet and small flower at corners, spines gilt in compartments with red and green roan labels, a little rubbed, some splits to joints, 4to, York, 1812.
D'Éon de Beaumont (Charles, Chevalier D'Éon in the French nobility, diplomatist and transvestite, 1728-1810).- Peter Henry Treyssac de Vergy ... true copy of the last will and testament..., printed broadside with mezzotint portrait, 420 x 270mm., irregularly trimmed, crease to upper left corner, unframed, [ESTC records 1 copy only (Guildhall)], [London], [1775.]."Following the publication of the Lettres, mémoires et négociations Guerchy sued D'Éon for libel, and the case was heard in the court of the king's bench on 3 July 1764. D'Éon did not present himself and was found guilty by default. Sentence was postponed until he could be brought to court. He was subsequently outlawed. He had disappeared, adopting female attire as a disguise. He hid himself at Byfleet, Surrey, in the house of an opposition MP, Humphrey Cotes, a friend of John Wilkes. On 12 February 1765, on the evidence of an adventurer called Treyssac de Vergy, originally an acolyte of Guerchy but now an ally of D'Éon, the French ambassador was indicted in the court of common pleas of having incited Treyssac to kill D'Éon. The case went through several stages. Guerchy's residence was stoned by a Wilkite mob. The ambassador was recalled, and the chief cause of D'Éon's agitation was removed." - Oxford DNB.
![Victoria (Queen) Cut signature and postcard portrait, framed, 50 x 101mm., n.d. [late 19th century] § Augustus Frederick (Pri](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/fbbbcc16-d00f-4181-bd8f-ad2100af0b73/468x382.jpg)
Victoria (Queen) Cut signature and postcard portrait, framed, 50 x 101mm., n.d. [late 19th century] § Augustus Frederick (Prince, Duke of Sussex, son of George III, 1773-1843) Autograph Letter signed to "Dear Browne", 1p., 4to, Kensington Palace, n.d., announcing, "My complaint continues to plague me so much and has made me so weak that I am quite unable to dress and come out", adding that he had been anxious to meet a lady and asking his correspondent to explain the situation to the Duke of Gloucester, folds; and c. 10 others, letters and documents, v.s., v.d. (c. 10 pieces).
![H[oddesdon] (J[ohn]) Tho. Mori vita & exitus: or, the History of Sr. Thomas More..., engraved portrait (laid down on line](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/484ed2e9-b248-401b-b1d3-ad2100ae50fd/468x382.jpg)
H[oddesdon] (J[ohn]) Tho. Mori vita & exitus: or, the History of Sr. Thomas More..., engraved portrait (laid down on linen and folding), title in red and black, lacking final blank, H1 a little stained and with small hole causing loss to a couple of letters, tear to foot of L1 repaired, later bookplate of Henry J.B.Clements, a good copy in later brown morocco, gilt rule border and small floral corner-pieces, spine gilt in compartments, g.e., joints slightly rubbed, [Wing H2296], by E.Cotes for George Eversden, 1652.
![[Defoe (Daniel)] Jure Divino: a Satyr. In Twelve Books, pirated edition, engraved portrait, title with typographical ornament](https://cdn.globalauctionplatform.com/b6d116f5-e7d3-438c-bdeb-ad2100a91de6/b838a266-2116-43bc-b5c9-ad2100ae6126/468x382.jpg)
[Defoe (Daniel)] Jure Divino: a Satyr. In Twelve Books, pirated edition, engraved portrait, title with typographical ornament, small stain to I3, contemporary ink inscription of William Wollascott to front free endpaper and with his engraved bookplate, contemporary panelled calf, rubbed, lacking label, upper joint split, [Foxon D130; Moore 115], 8vo, [?Benjamin Bragg], 1706.
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