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Oliver Dorrell BlackICE, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition.   The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.

Eric Inkala 6 Eyes in Blue, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Brooklyn-based Eric Inkala is a self-taught artist whose highly visual and ever-evolving style has ripened from graffiti to pop art to contemporary art. His work presents a playful graphic language in the form of a signature character who serves as a vehicle for an autobiographical narrative. It's through this personal storyline that Inkala is able to channel thoughts and emotions into expressions of shape, colour and text. His universally approachable concept is amplified through increasingly complex patterns and symmetry,which over the years have reflected both the abstract escapades of his trademark character and Inkala's own artistic journey. Working primarily in acrylic, his paintings vary in size from large-scale canvas to sculpture, prints and small works on paper.   Eric Inkala was born in Minneapolis, MN. His work has been exhibited nationally at galleries such as THIS Gallery (CA), Parlour Gallery (NJ), Public Functionary (MN), Joseph Gross Gallery (NYC) and most recently at Cass Contemporary (FL) Scope Miami beach and Blackbook gallery in Denver Colorado. His work has also been presented internationally, most recently at Gallery Poulsen in Copenhagen Denmark. Inkala murals have covered walls in Minneapolis, Palm Springs, and at the Ace Hotel in New York City.  

Rosie Emerson Dreamer, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Condition Report:         Condition Report Disclaimer

Rosie Emerson Ebony Rose AP, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.)Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.

Marcus Aitken Glitch 01, 2020 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marcus is a contemporary artist living and working in South London. Known for his gestural paintings, his work has been featured in various publications including Schön! Magazine, Art Plugged, Saatchi Online, Trebuchet, Condé Nast and Culture Trip and was recently named as one of Saatchi Arts top 20 emerging artists to watch in 2020. 
Having shown in exhibitions internationally, he has a background in design and developed his artistic style creating cutting edge gestural abstract works with vibrant and exciting sculptural elements. "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art      

Marcus Aitken Glitch 02, 2020 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Marcus is a contemporary artist living and working in South London. Known for his gestural paintings, his work has been featured in various publications including Schön! Magazine, Art Plugged, Saatchi Online, Trebuchet, Condé Nast and Culture Trip and was recently named as one of Saatchi Arts top 20 emerging artists to watch in 2020. 
Having shown in exhibitions internationally, he has a background in design and developed his artistic style creating cutting edge gestural abstract works with vibrant and exciting sculptural elements. "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art "Marcus' rigorous design background shines through in his creative process-building up and distressing multiple layers of pigment on wood panels and canvas, and then applying expressive brushstrokes-ultimately yielding expertly balanced and dramatic compositions." - Rebecca Wilson, Chief Curator & VP Saatchi Art      

Luke Elwes Rise, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

Luke Elwes Sanctuary, 2020 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

Luke Elwes Offering, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. His work has been widely shown in galleries and museums in both the UK and Europe and in recent years he has been awarded grants to work in the US at the Vermont Studio Center and the Albers Foundation. Luke Elwes was born in London (1961) and spent his early years in Iran, where the light and space of the desert were a formative influence. He holds degrees from Bristol University (1983) and UAL (Camberwell school of Art 1985), and completed his Masters in Art History at London University (Birkbeck) in 2007. Since 1990 his work has been exhibited in the following galleries: Frestonian Gallery (London), Adam Gallery (London), Broadbent (London), Art First Contemporary (London), Browse & Darby (London), Art First (New York), Galerie Vieille du Temple (Paris), Galerie Marceau Bastille (Paris), Grand Palais (Paris), Palazzo Lanfranchi (Pisa), Galleria Ceribelli (Milan & Bergamo), Galleria Ghelfi (Vicenza). He has participated in shows at the following UK institutions: Royal Academy London, Christies London, Barbican Gallery London, National Trust, Estorick Collection London, Kettles Yard Cambridge, Southampton Art Gallery, Bury Art Gallery Manchester, Young Gallery Salisbury, Minories Colchester. He has also written about contemporary art for journals including Modern Painters, Royal Academy Magazine, Galleries Magazine, Abstract Critical and other digital platforms. In 2011 he was invited to give an 'Artist's Eye' talk at the National Gallery.    

Anatomy.- Salvage (Jean-Galbert) Anatomie du Gladiateur combattant, applicable aux beaux arts, first edition, deluxe copy on special thick paper with counterproof plates, half-title, engraved plate entitled "L'art s'illustre par la science", one preliminary leaf misbound, 16 superb engraved plates printed in black and sepia, each accompanied by the corresponding counterproof plates bound opposite, 5 engraved plates printed solely in black, likewise with corresponding counterproofs bound opposite, printed on fine paper, some plates with Salvage's own oval ink stamp in lower corner (monogram JGSE above D.MDne, Lugt 4565), occasional marginal soiling, a few leaves with minor marginal tears/repairs, modern red morocco-backed marbled boards by Albert Valat of Montpellier, spine gilt, g.e., folio (544 x 376mm.), Paris, chez l'Auteur, de l'Imprimerie de Mame, 1812.⁂ A magnificent deluxe copy in exceptional condition. "The year 1812 saw the publication of one of the more remarkable illustrated books ever to appear in France. Titled 'Anatomie du gladiateur combattant,' it was inspired by contemporary rhetoric celebrating the role of the arts in the new post-revolutionary society. At the same time, it was a magnificent display of hard-won knowledge of human anatomy and a tribute to medical science" (Jean-Galbert Salvage and His Anatomie du gladiateur combattant: Art and Patronage inPost-Revolutionary France, Raymond Lifchez in: Metropolitan Museum Journal 44, 2009, p. 163). Salvage (1772-1813) was an army surgeon, anatomist, and skilled draftsman. He created three monumental écorchés, i.e. casts of human bodies represented without skin. He used the bodies of soldiers "in their prime" who were killed in duels, rather than patients who died as a result of illness. Salvage arranged his cadavers in the same pose as the Borghese Gladiator sculpture and meticulously worked out the skeletal and muscular anatomy. Salvage's écorchés are preserved at the Ecole Nationale des Beaux-Arts. This copy is enhanced by the inclusion of the counterproof plates, which show an important stage between Salvage's original drawings and the finished engraving. A counterproof is a proof of a proof - the artist takes an impression from the engraved plate and while it is still wet lays another piece of paper over it and runs it through the press, creating a counterproof. Because the original proof is the mirror image of the plate, the counterproof is the mirror image of a mirror image, so that the image is aligned the same way it is on the plate. The artist can draw on the counterproof and work from that to the plate without having to reverse the image. The counterproofs here do not show the titles or captions, which were added later.

Mathematics & Navigation.- Gunter (Edmund) The description and vse of the sector, crosse-staffe, and other instruments:...and the vse thereof in astronomie, navigation, dialling, and fortification, &c., 4 parts in 1 vol., second edition, engraved additional pictorial title and frontispiece, woodcut diagram to printed title, 2 woodcut plates, 2 printed slips ('The Scale of Chords and Rumba' and 'A Table for the use of the Chaine'), numerous woodcut diagrams and illustrations in text, without blank 2L2, the odd instance of later pencil marginalia, additional title with small ink stain and crease, occasional spotting or light staining, lightly browned, contemporary blind-ruled calf, sympathetically rebacked, spine in compartments and with red morocco label, rubbed, [Tomash & Williams G102; STC 12523], small 4to, Printed by William Iones, for Iames Bowler, and are to be sold at the Marigold in Pauls Church-yard, 1636.⁂ A solid copy of this considerably expanded second edition, which is rarely found complete (our copy lacking only a blank). Includes a chapter on the mathematics of fortification not published before. It 'must rank with Eden's translation of Cortes's Arte de Navegar and Wright's Certaine Errors as one of the three most important English books ever published for the improvement of navigation... [Gunter] opened up... an entirely new field, that of arithmetical navigation' (Waters, Art of Navigation, p. 359).

France (Anatole) Le Génie latin, number 20 of 225 copies on papier de Hollande, in an edition of 300, initialled by the publisher, signed presentation copy from the author to Eugène Richtenberger, and with three sheets of autograph notes by France bound in, 2 of which with sketches, handsome contemporary red straight-grain morocco, richly gilt, by Thierry, successor of Petit-Simier, spine ends rubbed, board slip-case, 1 lower joint split, rubbed, 8vo (binding 227 x 135mm.), Paris, Alphonse Lemerre, 1913.⁂ Eugène Lazare Richtenberger (1856-1920) French art critic.

Bruys (Francois) The Art of Knowing Women, second English edition, engraved frontispiece, 2 final advertisement leaves, upper corner of K6 defective with slight loss of text, following few leaves with slight marginal defect to corner, some light foxing and browning, contemporary calf, gilt, rebacked, 8vo, for E. Curll and T. Payne, 1732.⁂ Quite scarce with ESTC recording BL and City of London Polytechnic Library copies only in the UK. Only one copy at auction in the last 50 years.

Pyne (William Henry) The History of the Royal Residences of Windsor Castle, St. James's Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore, 3 vol., first edition, 100 hand-coloured aquatint plates, many heightened with gum arabic, occasional faint off-setting from plates to text, scattered faint marginal spotting, cracked hinge (vol. 2 only), bookplates, contemporary straight grain morocco, large gilt architectural device to boards, elaborate gilt borders, spines richly gilt in compartments, aeg, gilt dentelles, housed in modern slipcases, all but 1 vol. with accompanying chemise, 4to, [Abbey Scenery 396], 1819.⁂ Provenance. Bookplate of Neil Benjamin Edmonstone (1765-1841), civil servant for the East India Company. William Henry Pyne (1770-1843) was an artist and printmaker, who commissioned the artists and engravers of these plates, to show an exact record of the interiors of royal residences. The illustrations have been consulted by art historians, curators and archivists at the royal collection to research interior schemes and decorative fashions, down to such details as the arrangements of hanging pictures.

Laurence (Edward) The Surveyor's Guide, third edition, 6 folding engraved plates, tables of logarithms, contemporary ink inscription "George Saxy 1742 cos. 3s 6d" to front and rear free endpapers, contemporary sheep, a little worn, later label, James, John, & Paul Knapton, 1736 § Love (John) Geodaesia: or , the Art of Surveying..., eleventh edition, diagrams, contemporary sheep, rebacked preserving old spine, G.G.J. & J.Robinson, 1792 § Davis (William) A Complete Treatise on Land Surveying, third edition, 7 folding engraved plates, Kenney copy with label, later half calf, 1804 § Dix (Thomas) A Treatise on Land-Surveying, sixth edition, folding hand-coloured engraved plan, illustrations and diagrams, 4pp. advertisements at end, contemporary tree sheep, rebacked, 1835, all rubbed; and 9 others on surveying, levelling, mining etc., 8vo & 4to (13)⁂ The first item was first published as The Young Surveyor's Guide in 1716; it was the first original treatise on the subject printed in England in the eighteenth century. All editions are scarce with only a handful of copies in British libraries. George Saxy was a subscriber of seven copies of a description of the Bristol Exchange printed in 1745.

Victor Pasmore R.A. (British, 1908-1998)Abstract in Brown, White, Pink and Ochre signed with initials 'VP' (lower right)oil on board68.1 x 83.8 cm. (27 x 33 in.) (including the artist's backboard)Painted in 1951-2Footnotes:ProvenanceThe ArtistWith Arthur Tooth & Sons, London, May 1959, where purchased bySir Martyn BeckettHis sale; Christie's, London, 8 June 2001, lot 157With Jonathan Clark & Co, London, 14 September 2001, where purchased byRoss D. Siragusa Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Institute of Contemporary Arts, Victor Pasmore Paintings and Construction 1944-1954, March-May 1954, cat.no.22 (as Oval Motif No. 2, 1951)Cambridge, Arts Council Gallery, Victor Pasmore: Selected Works 1926-1954, February-March 1955, cat.no.29London, Redfern Gallery, Victor Pasmore, June 1955, cat.no.16London, Arts Council Gallery, Three Masters of Modern British Painting, 1958, cat.no.37 (as Oval Motif in White, Brown, Pink and Maroon)London, Arthur Tooth & Sons, Today and Yesterday, February 1959, cat.no.7London, Tate Gallery, Victor Pasmore Retrospective Exhibition 1925-65, 14 May-27 June 1965, cat.no.103 (as Oval Motif in Brown, White, Pink and Ochre No.2)Bradford, Cartwright Hall, Victor Pasmore, organised by Arts Council of Great Britain, 2 February-9 March 1980, cat.no.22; this exhibition travelled to Liverpool, Walker Art Gallery, 15 March-11 May, Norwich, University of East Anglia, Sainsbury Centre, 20 May-15 June, Leicester, Leicestershire Museum and Art Gallery, 21 June-20 July, Newcastle upon Tyne, Laing Art Gallery, 26 July-25 August and London, Royal Academy, Diploma Galleries, 13 September-19 October 1980LiteratureLawrence Alloway, Nine Abstract Artists, Alec Tiranti Ltd., London, 1954, pl.45Alan Bowness and Luigi Lambertini, Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, cat.no.173, p.103 (col.ill)Only a handful of abstract works by Victor Pasmore dating from the first half of the 1950s have appeared at auction over the past thirty or so years. They are incredibly rare. Abstract in Brown, White, Pink and Ochre (1951-2) dates to the earliest part of the decade and is accompanied with impressive exhibition history, having been included in the artist's major Tate retrospective in 1965 amongst other shows. Like Ben Nicholson (who was fourteen years his senior) during the early 1920s, Pasmore had flirted with abstraction at a specific moment in the early 1930s before he founded the Euston Road School. He joined the London Artists' Association in 1933 and with Sir William Coldstream and Claude Rogers participated in Zwemmer Gallery's notable 1934 show, Objective Abstractions. Only, Pasmore's contribution to the exhibition was not abstract but instead showed the influence of the Fauves and Cubists; Matisse and Picasso being the sources of his early inspiration. Unfortunately, the handful of abstract works Pasmore produced following the show, partly guided by Ben Nicholson's new avant-garde approach to his painting, were destroyed by him. As the decade wore on and Pasmore established his teaching, first at Fitzroy Street then Euston Road, pupils were directed to the naturalistic aesthetic of Degas, Cézanne, Sickert and Bonnard. Up until the mid-1940s this is the direction Pasmore's painting travelled in, but as the war drew to an end, experimentation began to re-appear. His Hammersmith paintings of the late 1940s show evidence of his interest in Seurat's Pointillism and Cezanne's later work with the use of multiple perspectives. Despite this, Pasmore felt unconvinced with his progress, and Ronald Alley in his introduction to Tate's retrospective exhibition describes the change which then occurred:'Therefore, in 1948 he decided to make a fresh start with abstract art and to explore all its possibilities in a completely scientific way, finding out what happened when one started with a square or a spiral or so on. He read the writings of Kandinsky, Mondrian, Arp and the other leading abstract artists, just as he had previously read those by the post-impressionists, and even made a compilation Abstract Art: Comments by some Artists and Critics, which was privately printed at the Camberwell School of Art in 1949. Knowledge of the post-war Parisian and American abstract movements had not reached England at the time and Pasmore's development was completely independent of them.' (Ronald Alley, Victor Pasmore, Retrospective exhibition 1925-65, Tate Publishing, 1965).To begin with, Pasmore's abstraction involved collages and two-dimensional paintings such as the present work with its complex colours, shapes and forms encased within an oval as a reflection on his dissatisfaction with the closed rectangle of easel painting. The first constructed reliefs had begun to appear by 1948 and were exhibited at Fitzroy Street in March 1952 and Redfern Gallery in May of the same year. Many of these and other works were sadly destroyed by the artist and opportunities to acquire examples such as Abstract in Brown, White, Pink and Ochre seldom present themselves.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

Dame Elisabeth Frink R.A. (British, 1930-1993)Horseman signed and numbered 'Frink 5/6' (on the rear left hoof)bronze with a light green patina83 cm. (32 5/8 in.) highConceived in 1984Footnotes:ProvenanceWith Beaux Arts, London, circa 1984, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Wiltshire, Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, 10 May-7 June 1997 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.182, cat.no.SC2 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.166, cat.no.334 (ill.b&w, another cast)As Edward Lucie-Smith observed in 1994, 'one of Frink's best-known images is Horse and Rider (1974), commissioned by Trafalgar House and situated on the corner of Piccadilly and Dover Street in central London. Thousands of Londoners pass it every day, and it is one of the very few contemporary public sculptures in London that seems to be liked and appreciated by the public'. (Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.50).Whilst Frink's varied and extensive output has since been the subject of at least seven major museum exhibitions, many more gallery shows and several publications including a complete catalogue raisonné, it remains the case that in the public's mind the motif of horse and rider is still synonymous with Frink. Considering that she sculpted many more horses without riders, it is testament to the power of such an emotionally accessible motif that such works are so indelibly etched on our perception of her sculpture. This has only been further reinforced by the relocation of the above mentioned commission to the more prominent location of number 1 New Bond Street. The present variation of the horse and rider is described by Lucie-Smith as 'The most striking treatment of this motif from her last decade... intense and deeply felt.' (ibid). He elaborates that 'unlike nearly all her previous riders, this one is clothed. He wears bulky garments, and his head is enveloped in a hood. His features are much more individualized than is the case with Frink's nude horsemen: the spectator feels that he or she is in the presence of a real person. This impression is reinforced by the way in which the posture as well as the features are scrutinized. The rider sits on his horse very easily and confidently. His shoulders are slightly slumped but the impression he makes is one of great alertness. Face and posture alike make it probable that the sculpture was inspired by her third husband, Alex Csáky. Csáky came from an aristocratic Hungarian family; the history of Hungary was, so to speak, in his blood. Horseman could be read as a representation of a nomadic Magyar rider, roaming the Hungarian plains, only half-civilized, always on the lookout for conquest.' (ibid.)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

Victor Pasmore R.A. (British, 1908-1998)Abstract in White and Black (Version 1) signed with initials 'VP.' (verso)painted wood and perspex projective relief construction121.9 x 121.9 cm. (48 x 48 in.)Constructed in 1965Footnotes:ProvenanceMichael Spens, by whom gifted toPrivate CollectionTheir sale; Christie's, London, 8 June 2001, lot 158With Jonathan Clark & Co, 14 September 2001, where purchased byRoss D. Siragua Jr., from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Victor Pasmore Retrospective Exhibition 1925-65, 14 May-27 June 1965, cat.no.223, pl.65 (as Relief and Transparent Construction in White and Black)Edinburgh, Scottish National Gallery of Art, Victor Pasmore, July 1965, cat.no.55; this exhibition travelled to Liverpool, Walker Art Gallery, August 1965Calais, Musée des Beaux Arts et de la Dentelle de Calais, Victor Pasmore, 1950-1967, June-October 1985, cat.no.34New York, Center for International Contemporary Arts, Victor Pasmore, Nature into Art, November 1990-February 1991, cat.no.12, pl.9LiteratureAlan Bowness and Luigi Lambertini, Victor Pasmore: A Catalogue Raisonné of the Paintings, Constructions and Graphics 1926-1979, Thames & Hudson, London, 1980, p.117, cat.no.362 (ill.b&w.)Abstract in White and Black (Version 1) was constructed in 1965 and included in Victor Pasmore's Tate Gallery retrospective of the same year. From the early 1950s the artist had made the decision to devote himself to constructed reliefs and they were a constant theme through the following decades. Unfortunately, a significant number of the early reliefs made from experimental materials such as wood, plastic and aluminium were destroyed. Pasmore was naturally aware of Ben Nicholson's celebrated painted reliefs (owning a small example himself) which were carved in shallow space and seemingly from slabs of solid board. However, Pasmore was intent on assembling his constructions from laths and sheets of machine-made, mass produced materials. In the present work, the artist has utilised perspex for example, a strong yet lightweight thermoplastic that is transparent and roots his work alongside current technological advances. This concept was largely indebted to the American abstract artist Charles Biederman who believed that the logical progression from Mondrian's reduction of nature to its simplest form was into the real space of the constructed relief.In the present work, the square perspex frames a complex assembly of painted wood at varying positions and angles within a larger composition that is carefully balanced. The uniform black lines moving across the work is a 'development', which Pasmore in his own words described as an 'organic process' which 'suggests an element of movement and infinity' (Victor Pasmore quoted in Alastair Grieve, Victor Pasmore, Tate Publishing, London, 2010, p.108).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

* ALEXANDER MILLIGAN GALT RGI (SCOTTISH 1913 - 2000), THE NEW HAT pencil on paper, 15.5cm x 12.5cm Mounted, framed and under glass Panter & Hall (London) gallery label verso with title etc. Note: Alex Galt was born in Greenock in 1913, the seventh child of a Clydeside brass founder. Living off the frugal earnings of his father’s labour he enrolled at the Glasgow School of Art in 1930. While at Glasgow he befriended David Donaldson and Bill Crosbie, both contemporaries at the school. Donaldson, who later became Queen’s Limner in Scotland and Head of the School of Art, wrote that he was overawed by Galt’s draughtsmanship “…he could draw like an angel….and …could out Orpen Orpen”. On graduation, he won the Torrance Award for life painting and his diploma work toured the art schools of Scotland as an example to other students. In the 1930s he befriended the sculptor Jacob Epstein and his reputation began to grow apace. His painting ‘The Stable Boy’ was purchased by the Caird Museum Bequest in Greenock and it was this work that drew the attention of the critic James Agate. Agate’s patronage proved invaluable to the young painter and led to introductions to Rex Nankivell at the Redfern Gallery (London) and the patron Sir Ulrich Alexander, Keeper of the Privy Purse. The award of The Carnegie Scholarship in 1938 enabled Galt to travel to Paris. He took rooms for two years in Montparnasse meeting the resident artistic community through his friend the padre Donald Caskie. Caskie later distinguished himself as the war hero ‘the Tartan Pimpernel’. Forced to return to Scotland with the onset of war he began to teach at Greenock High School before being called up for service in the RAF. Returning to civilian life in 1945 Galt took a job as part-time tutor at Glasgow School of Art before being appointed as art master to Greenock High School. Despite his popularity amongst his peers Galt was single minded in his pursuit of art. Although an elected member of the Royal Glasgow Institute he eschewed the accompanying social life, preferring to lose himself in his painting, the sound of opera reverberating around his studio. He was active until his death in 2000, winning his last prize at the RGI at the age of 81. In The Scottish Contemporary Art Auction on 27th September 2020, lot 593 "Yachts On The Clyde" by Alex Galt sold for £2400 (hammer).

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Family afternoon signed and dated 'GHIKA 46' (lower left)encaustic on canvas laid on card23 x 18 cm. Painted in 1946.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAthens, The British Council, Pictures by Ghika, November 15-25, 1946, no. 33 (listed in the exhibition catalogue).LiteratureAngloelliniki Epitheorisi, vol. 2, no. 11, January 1947, p. 363 (discussed).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, fig. 140, p. 281 (illustrated).Triggering opposing pairs, such as interior-exterior and naturalistic-abstract, Family afternoon is a well thought out, tightly designed and dynamically balanced composition that draws from indigenous sources and contemporary genre to explore the complex issue of Greekness. Prefacing the catalogue for the artist's 1946 one man show at the British Council in Athens, which included this lot, art critic Derek Patmore noted: 'Ghika is the most remarkable of the younger Greek painters. Each of his pictures is the result of a long meditation and a carefully evolved technique. Essentially an intellectual, his use of line, form, and colour has a carefully built-up design which gives his work a unique intensity of colour and the visual pleasure of a perfectly conceived work of art.' The 1946 exhibition catalogue was also prefaced by poet Kimon Friar, who elaborated on the idea of Ghika as composer, discussing his works in terms of music and rhythm: 'Ghika's paintings are all examples of the artist's control over his medium and his meaning, and they are all witnesses of that triple counter-pointing of the verb 'compose': they are a designer's compositions in line, colour and space; they are the work of a musical composer; and their final resolution is a composure which the classical artist imposes on the recalcitrant materials of life to create a cosmos for which we all long and dream but which only the artist may invoke.'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

Alecos Condopoulos (Greek, 1905-1975)Picture III signed in greek and dated '964' (upper right) gouache and mixed media on board47 x 63 cm. Painted in 1964.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAnn Arbor, Michigan, Forsythe Gallery, Alecos Condopoulos, April 26 - May 20, 1965 (based on label on the verso).Thessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 42 (illustrated in the exhibition catalogue, p. 68).LiteratureEllinomouseion, Militos editions. Athens, 2001, p. 134 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Condopoulos Works, p. 2 (illustrated).'An event of outstanding importance is the current showing at the Forsythe Gallery of some twenty oils and gouaches by the contemporary Greek painter Alecos Condopoulos. This is truly a handsome affair, and should by no means be missed by the many who are interested in good painting. This is only the second one-man showing of his work in this country, but his paintings have found their way into several notable American collections.' - Jean Paul Slusser, 1965.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

Nikos Engonopoulos (Greek, 1907-1985)Nestor signed in Greek and dated '58' (lower left)oil on canvas71 x 78 cm.Painted in 1958.Footnotes:Provenance K. Ladopoulou, Athens.Private collection, Athens.ExhibitedAthens, Moraitis School Studies Society, Personal Exhibition, November 19 - December 19, 1976, no. 29. Athens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos, April 3-15, 1983, no. 40 (listed in the exhibition catalogue, p. 43).Athens, Gallery '3', Nikos Engonopoulos Painting 1975-1985, November 4-30, 1985, no. 18. LiteratureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (mentioned), p. 285, fig. 36 (illustrated).S. Boulakian, Nikos Engonopoulos - The Greek Painters, Melissa editions, Athens 1975 (illustrated on the cover).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 52, p. 118 (discussed), p. 119 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 607, p. 303 (illustrated), p. 460 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos,, doctoral dissertation, National Technical University of Athens, 2007, p. 293 (discussed), p. 940 (mentioned), p. 961 (listed), p. 294, fig. 96 (illustrated). Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p. 149 (mentioned).Three standing nude male youths, perhaps warriors, listen respectfully to a gesturing man who seats at the edge of a pedestal holding a cane, while a guard with helmet and spear watches over the meeting, investing the whole scene with authority and significance. Based on the painting's title, the seated figure in a green tunic is Nestor,1 the legendary king of Pylos, who seems to relate some story from his colourful life, echoing Picasso's Nestor's Tales from the Trojan War (1930), an oxygraph inspired by Ovid's Metamorphoses.2 As a youth, Nestor was a fine warrior and a great athlete. Later on, succeeding Neleus as king of Pylos, he took part in the Trojan War, where he enjoyed his role as an elder statesman noted for wise counsel. In the Iliad he is 'the sweet-voiced, clear-tongued speaker of the Pylians, whose voice, when he spoke, was sweeter than honey.' One of the few Greek commanders to return safely home from Troy, wise, if garrulous, Nestor enjoyed prosperity for the rest of his life, habitually unleashing a stream of nostalgic reminiscences of the Trojan War and his long-ago exploits.3Alluding to a heroic past drawn from the treasury of Greek mythology, Nestor reflects the artist's attitude towards painting as an ideal vehicle to probe into the world of Greekness and reinterpret a rich tradition in a modern and vigorous manner. As noted by art historian N. Loizidi, 'Engonopoulos gave us a version of surrealism that is universal, but at the same time deeply rooted in Greekness'.4His persistence on indigenous cultural sources and experiences clearly indicates that while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a connecting cultural link.5 As noted by Athens National Gallery Director M. Lambraki-Plaka, his figures may draw their origin from Giorgio de Chirico's phantom-like mannequins 'but they differ radically. Elegant, slender and stalk-like, with an athletic built and pronounced limb joints, Engonopoulos's figures are unmistakably Greek, reminiscent of the Minoans immortalized on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'6 1 Nestor and the helmeted guard wear a ring on their index finger, essentially identifying with Engonopoulos himself who used to wear a characteristic ring on the same finger. See D. Menti, Faces and Masks [in Greek], Gutenberg publ., Athens 2007, pp. 135-136, note 34. See also Chartis review, no. 25/26, November 1988, p. 172.2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 52, p. 118.3 See D. Stuttard, Greek Mythology, Thames & Hudson, London, 2016, pp. 90-93.4 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 181.5 See N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.6 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.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

Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.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

Thanos Tsingos (Greek, 1914-1965)Flowers in white background signed 'TSINGOS/60' (lower left)oil on canvas47 x 19 cm. Footnotes:ExhibitedEleusis, Leonidas Kanellopoulos Cultural Centre, Thanos Tsingos, July-August 2005, no. 42 (illustrated in the exhibition catalogue, pp. 96 [detail] and 69).LiteratureContemporary Greek Art institute Digital Platform, dp.iset.gr, Thanos Tsingos Works, p. 2 (illustrated).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

Yannis Gaïtis (Greek, 1923-1984)Medaillon noir painted wooden construction in carved frame by the artist102 x 72 cm ( in oval shape).Painted in 1977.Footnotes:ProvenancePrivate collection, Thessaloniki.. ExhibitedSkopje, Gaitis, Museum of Modern Art, January 10-25, 1978.Belgrade, Yannis Gaitis, Museum of Modern Art, March 3-19, 1978.Athens, National Gallery - Alexandros Soutsos Museum, Yannis Gaitis, July 16 - September 30, 1984.Athens, Epikentro Contemporary Art Gallery, Yannis Gaitis, April 3-30, 1996.Thessaloniki, Lola Nikolaou Gallery (in cooperation with the Epikentro Contemporary Art Gallery in Athens), Yannis Gaitis, January 19 - February 7, 1998.LiteratureYannis Gaitis, Catalogue Raisonné, Ioannis F. Costopoulos Foundation, Athens 2003, no. 1349, p. 315 (illustrated).D. Zacharopoulos, Yannis Gaitis, The Subversive, Ta Nea editions, Athens 2009, p. 99 (illustrated).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

Georgios Bouzianis (Greek, 1885-1959)Mänlicher Kopf signed Jo Bouzianis (lower right) and titled and signed on the pass-par-tout watercolor on paper 44 x 30 cm. Footnotes:Painted c. 1913-1915.ExhibitedAthens, Bouzianis House Museum - Bouzianis Cultural Centre, Bouzianis Returns Home, October 4-31, 2010 (illustrated in the exhibition catalogue, p. 17).Thessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 77 (illustrated in the exhibition catalogue, p. 104).LiteratureD. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 1 (additional catalogue entry), p. 313 (catalogued), 69 (illustrated).Newspaper clipping, c. 1990s (illustrated).'Bouzianis's watercolours confirm his status as one of the greatest artists of his time.' - Dr. H. Hofmann, 1928.1Invested with the lightness of watercolour and painted with a directness that immediately captures the eye, this brilliant self-portrait of fluid colour and evocative form sings a Mediterranean, Grecian song, full of sun and golden light.2 Reviewing the 1932 exhibition of Bouzianis's watercolours at the Barchfeld gallery in Leipzig, art critic M. Schwimmer remarked: 'Employing the most frugal means, the artist conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner,'3 while in an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted: 'Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art.'4 As noted by Professor D. Deliyannis, who prepared the artist's monograph, 'Bouzianis's portraits are by no means static. A slight differentiation in the rendering of the eyes suffices to suggest the sitter's active presence. One of the key characteristics of Bouzianis' portraiture is the frontal pose. That's why he pays close attention to the depiction of the eyes. His insistence on frontality is not of minor import. He breaks away from ancient Greek portraiture, while retaining a close relationship with the Byzantine style.'5 Indeed, the frontality of the portrait, set against a barren background, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint. 1 H. Hofmann, Leipziger Abendost daily, September 6, 1928.2 See C.S. Spencer, 'George Bousianis', Studio magazine, vol. 159, no. 806, June 1960, p. 206.3 MS, Leipziger Volkszeitung daily, December 23, 1932.4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.5 D. Deliyannis, Bouzianis [in Greek], Athens 1996, pp. 38, 39.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 Indian art.- [Werdin (Johannes Philippus)], "Paulinus a Sancto Bartholomaeo". Systema Brahmanicum liturgicum mythologicum civile ex monumentis indicis Musei Borgiani velitris..., first edition, engraved title vignette of Ganesh, 30 sheets of engravings, of which 1 double-page, later ink and pencil marginalia, some plates stained, occasional spotting and staining elsewhere, contemporary mottled calf, broken, spine worn, 4to, Rome, Antonio Fulgoni, 1791. sold not subject to return. ⁂ Scarce account of the Indian art in the Museo Borbonico of Naples by an Austrian Carmelite priest who was a missionary on the Malabar coast from 1776-1789. The work introduced Europe to the Hindu Pantheon.

Egypt.- Greenhill (Thomas) Nekrokedeia: or, the Art of Embalming, first edition, 'Explanation of the Frontispiece' leaf, folding engraved frontispiece, folding map (torn), 13 plates, 1 folding, list of subscribers, lower edge of map stained, ink stain to Pp4 and Qq1, contemporary panelled calf, covers and first leaf detached, 4to, for the Author, 1705.⁂ Subscribers included Hans Sloane, William Cowper, Alexander Geekie and Abel Roper.

A PAIR OF GEORGE III SILVER SALVERS, WILLIAM BENNETT, LONDON, 1807 oval, each later engraved with three crests surrounded by a contemporary engraved 'Egyptianesque' band of hieroglyphic inspired motifs on a stippled ground between wrigglework borders, on four panel feet, gadroon rims 28cm long, 1274gr (40oz 18dwt) The crests are those of Daniel, Amhurst and Tyssen, for William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney DL, JP (1835-1909), a Conservative Member of Parliament and collector of books and works of art. There was a surge in Eyptomania following Napoleon's campaigns and Nelson's victories in Egypt, although hieroglyphs were little understood at the time, hence the idiosyncratic motifs to the engraving. For a Samuel Pemberton vinaigrette of 1805 with similar engraved decoration sold in these rooms, see lot 488, 20 November 2019.

AN ART NOUVEAU EMBOSSED COPPER FENDER, C1910, OF BOMBE FORM WITH BRASS RIMS, 148CM L, A CONTEMPORARY OVOID COPPER AND BRASS COAL BOX AND COVER, MARKED J M AND A LATE VICTORIAN BRASS AND LEADED GLASS FIRESCREEN (4) All in original condition with typical oxidisation and wear but no substantial damage. One of the glass quarries cracked

GROßE VASE "SALMONIDES". GROßE VASE "SALMONIDES". Lalique, René. Wingen-sur-Moder. Datierung: Entwurf 1928. Material: Farbloses, modelgeblasenes Glas, satiniert und hellblau patiniert. Beschreibung: Umlaufend dichter Reliefdekor mit Lachsen. Maße: Höhe 29cm. Marke: Unten auf Fußring bez. "R. Lalique France", graviert und "Lalique France" gepresst. Provenienz: Sammlung Prof. Thomas Olbricht. Erläuterungen zum Katalog René Lalique Frankreich Jugendstil / Art Déco 20. Jahrhundert Vase Glas GROßE VASE "SALMONIDES". LARGE GLASS VASE "SALMONIDES". Lalique, René. Wingen-sur-Moder. Date: Design 1928. Technique: Colourless, modelblown glass, satined and patinated light blue. Description: Circumferential, dense relief decor with salmons. Measurement: Height 29cm. Mark: On Footrim inscribed "R. Lalique France", engraved and "Lalique France" pressed in. Provenance: Collection Prof. Thomas Olbricht. Explanations to the Catalogue René Lalique Art Nouveau 20th century Vase Glass

JOSEPHINE BAKER. JOSEPHINE BAKER. Hagenauer Werkstätten. Wien. Technik: Messingguß und Holz geschnitzt. Maße: Höhe 29,5cm. Marke: Auf Unterseite bez. 'Hagenauer Wien', undeutl. Manufakturstempel, 'Made in Austria'. Provenienz: Sammlung Prof. Thomas Olbricht. Erläuterungen zum Katalog Hagenauer Werkstätten Österreich Jugendstil / Art Déco 20. Jahrhundert Tänzerin Messing JOSEPHINE BAKER. BRASS AND WOODEN FIGURINE OF JOSEPHINE BAKER. Hagenauer Werkstätten. Wien. Technique: Brass casting and carved wood. Measurement: Height 29,5cm. Mark: On the bottom inscribed 'Hagenauer Wien', indistinct manufactury stamp 'Made in Austria'. Provenance: Collection Prof. Thomas Olbricht. Explanations to the Catalogue Hagenauer Werkstätten Art Nouveau 20th century Female dancer Brass

VASE "HIEROGLYPHS". VASE "HIEROGLYPHS". Argy-Rousseau, Gabriel. Meister/Entwerfer: Modellentwurf 1927. Material: Pâte de verre, transluzide Glasmasse mit orangeroten, violetten und dunkelgrauen Aufschmelzungen. Beschreibung: Umlaufender ornamentaler Reliefdekor. Maße: Höhe 15cm. Marke: Unten auf Wandung bez. "G. Argy-Rousseau", geprägt. Provenienz: Sammlung Prof. Thomas Olbricht. Literatur: Bloch-Dermant, Janine: G. Argy-Rousseau, Les pâtes de verre, Catalogue Raisonné, Paris 1990. Für das Modell siehe S.211, Kat-Nr.27.07. Erläuterungen zum Katalog Gabriel Argy-Rousseau Frankreich Jugendstil / Art Déco 20. Jahrhundert Vase Glas VASE "HIEROGLYPHS". PÂTE DE VERRE GLASS VASE "HIEROGLYPHS". Argy-Rousseau, Gabriel. Maker/Designer: Design for this model from 1927. Technique: Pâte de verre. Translucent glass with orange, purple and dark grey fuses on the glass. Description: Circumferential, ornamental relief decor. Measurement: Height 15cm. Mark: On the bottom of the wall inscribed 'G. Argy-Rousseau', minted. Provenance_ Collection Prof. Thomas Olbricht. Literature: Bloch-Dermant, Janine: G. Argy-Rousseau, Les pâtes de verre, Catalogue Raisonné, Paris 1990. For this model compare p.211, cat-no.27.07. Explanations to the Catalogue Gabriel Argy-Rousseau Art Nouveau 20th century Vase Glass

BRIEFBESCHWERER "CAMÉLÉON". BRIEFBESCHWERER "CAMÉLÉON". Walter, Amalric. Nancy. Datierung: 1920er Jahre. Meister/Entwerfer: Entwurf Henri Bergé. Material: Pâte de verre, transluzide Glasmasse mit verschieden farbigen grünen und bernsteinfarben Ein- bzw. Aufschmelzungen. Maße: Höhe 8,5cm, ø ca. 8,5cm. Marke: Unten bez. "A.Walter Nancy", "Bergé Sc" geprägt. Provenienz: - Christie's London, Sale 6034, 1998, Lot 301. - Sammlung Prof. Thomas Olbricht. Erläuterungen zum Katalog Amalric Walter Frankreich Jugendstil / Art Déco 20. Jahrhundert Briefbeschwerer Glas BRIEFBESCHWERER "CAMÉLÉON". PÂTE DE VERRE PAPERWEIGHT "CAMÉLÉON". Walter, Amalric. Nancy. Date: 1920's. Maker/Designer: Designed by Henri Bergé. Technique: Pâte de verre, translucent glass with different green and amber coloured fuses on and inside the glass. Measurement: Height 8,5cm, ø ca. 8,5cm. Mark: On the bottom inscribed "A.Walter Nancy", "Bergé Sc" minted. Provenance: - Christies London, Sale 6034, 1998, Lot 301. - Collection Prof. Thomas Olbricht. Explanations to the Catalogue Amalric Walter Art Nouveau 20th century Paper Weight Glass

ANHÄNGER "STRANDDISTEL". ANHÄNGER "STRANDDISTEL". Argy-Rousseau, Gabriel. Datierung: 1920er Jahre. Material: Pâte de verre, transluzide Glasmasse mit farbigen Pulveraufschmelzungen. Maße: Ø 6,5cm. Marke: Je bez. 'GAR', vertieft. Provenienz: Sammlung Prof. Thomas Olbricht. Erläuterungen zum Katalog Gabriel Argy-Rousseau Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger Glas ANHÄNGER "STRANDDISTEL". PÂTE DE VERRE GLASS PENDANT "STRANDDISTEL". Argy-Rousseau, Gabriel. Date: 1920's. Technique: Pâte de verre, translucent glass with coloured powder fusings on the glass. Measurement: ø 6,5cm. Mark: Each inscribed 'GAR', immerged. Provenance: Collection Prof. Thonas Olbricht. Explanations to the Catalogue Gabriel Argy-Rousseau Art Nouveau 20th century Pendant Glass

ANHÄNGER "ALISIER DES BOIS". ANHÄNGER "ALISIER DES BOIS". Argy-Rousseau, Gabriel. Datierung: 1920er Jahre. Material: Pâte de verre, transluzide Glasmasse mit farbigen Pulveraufschmelzungen. Schwarzes Lederband. Maße: Länge 7cm. Marke: Bez. 'GAR', geprägt. Provenienz: Sammlung Prof. Thomas Olbricht. Erläuterungen zum Katalog Gabriel Argy-Rousseau Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger Glas ANHÄNGER "ALISIER DES BOIS". PÂTE DE VERRE GLASS PENDANT "ALISIER DES BOIS". Argy-Rousseau, Gabriel. Date: 1920's. Technique: Pâte de verre, translucent glass with coloured powder fusings on the glass. Black leather ribbon. Measurement: Length 7cm. Mark: Inscribed. 'GAR', minted. Provenance: Collection Prof. Thonas Olbricht. Explanations to the Catalogue Gabriel Argy-Rousseau Art Nouveau 20th century Pendant Glass

An Auto Art Contemporary series model No. 79811 1/12 scale model of a Ski-doo MXZ700 snowmobile, finished in yellow, housed in the original window box (NM,BNM)

Thorn - A contemporary 20th Century retro vintage uplighter standard lamp light of Art Deco style with label for atop for Thorn. The free standing lamp of painted white metal construction having a curved shaped shade with twin tubular supports raised on a weight metal base. Measures 181cm x 59cm x 37cm. 

A collection of contemporary silver jewellery. Including a pair of silver and black enamel retangular drop earrings and two rectangular pendants on chains. One set with cubic zirconia and one with an art nouveau inspired design. Stamped 925.

(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). Photography is dead. Long live painting. 1995Farbiger Inkjetprint auf Karton. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signiert, datiert und nummeriert. Mit dem Stempel des Herausgebers.Eines von 45 nummerierten Exemplaren. Los Angeles, Nash Editions, 1995. [3557]Provenienz: Ehemals Unternehmenssammlung, DeutschlandZustandsbericht: Ex. 40/45. In sehr gutem Zustand. Die Farben frisch und leuchtend. Die Blattkanten ohne Einrisse oder Fehlstellen. Am unteren Blattrand mittig und rechts unter dem Buchstaben H. jeweils mit minimaler Fingerspur. Unter UV-Licht sind keine Restaurierungen erkennbar. Sehr schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.David Hockney (Bradford 1937 – lives in London and Los Angeles). Photography is dead. Long live painting. 1995Coloured inkjet print on cardboard. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signed, dated, and numbered. Inscribed with the publisher's stamp.One of 45 numbered copies. [3557]Provenance: Formerly Corporate Collection, GermanyLiterature and illustration: Exh. cat.: David Hockney - Prints 1954-1995. Tokyo, Museum of Contemporary Art, 1996, p. 192, ill. 362Condition report: No. 40/45. In very good condition. The colours fresh and luminous. The sheet edges without tears or losses. Minimal fingerprints on the lower margin in the centre and to the right under the letter H. There are no repairs visible under UV-light. Very fine harmonious overall appearanceWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 305cm x 250cm, geometric marine blue field.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 200cm, geometric silver field.

Contemporary carved wood art vase, inscribed, signed & dated on bottom: Back (sic) Walnut, E. Merle 1997.3 x 6 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Southwest Indian polychrome vessel, titled and signed on bottom: Mimbres Bugs, H. Cordova 07 79. A native of the Mimbres valley of Southwestern New Mexico, H Cordova grew up in a rich culture of Spanish and native American influences. Inspired by the forms and designs of ancient art, he uses both traditional and contemporary techniques and materials to produce his distinctive work.Size: 7 x 8 3/4 in.Please note that all sales are final. No refunds will be given under any circumstances.

Lovely depiction of a mother reading to her daughter and baby in a bright outdoor setting, oil on masonite, dated and signed lower left: '85 Thornton Utz.. Born in Memphis, Thornton Robyn Utz began drawing and illustration at an early age without any professional training. Later, Utz studied at the American Academy of Arts in Chicago and taught at the Art Institute of Chicago. After teaching, he spent several years as a commercial artist and illustrator. His assignments were seen in most leading American magazines and in many European ones as well. His illustration credits also include 50 commissions for Saturday Evening Post. Eventually, Utz dedicated himself full time to working in the fine arts, which for him included portraiture and sculpture.Utz was a leading contemporary painter of nudes and portraits, he preserved this tradition with spontaneity and joy. In addition to classic figure painting, he tackled the areas of portraiture, sculpture, stained glass and architecture as well. Utz saw the nude, however, as an endless challenge. His paintings, reminiscent of Degas' coloration and Renoir's brushwork, are proof of his artistic triumphs.International fame came with portraits of Princess Grace of Monaco, President Jimmy Carter. He also painted such luminaries as the Brazilian ambassador.Thornton and his family lived in a home he designed and built on Siesta Key, Sarasota, Florida.Overall size: 32 x 42 in.Sight size: 29 1/2 x 39 1/2 in.

Vibrant geometric diamond shaped imagery, vivid green and orange, a feast for the eyes. Victor Vasarely's innovations in color and optical illusion have had a profound influence on contemporary art. He is in the vanguard of contemporary artists who seek new ways to bring beauty and reality closer together, and his goal is to create art that becomes an integral part of everyday life and the environment.The artist was born in Pecs, Hungary, in 1908. After receiving his baccalaureate degree in medicine, he began studying art at the Podolini-Volkmann Academy in Budapest. In 1929, he transferred to the Muhely Academy, also known as the Budapest Bauhaus. There he became familiar with contemporary research in color and optics by Johannes Itten, Josef Albers and the Constructivists Malevich and Kandinsky.After his first one-man show in Budapest in 1930, Vasarely moved to Paris, the art center of the world. He established a successful business as a graphic draftsman, developing his fine art in the evenings after work. Overall size: 40 x 40 in. Sight size: 29 x 29 in.

A contemporary art glass vase of large proportions in the style of Murano 53 cm in height.

A rare piece from widely hailed glass master, the late Pino Signoretto.Pino Signoretto is a contemporary Italian glass artist. He uses traditional Murano glassblowing techniques to depict animals, pop-culture icons, and art historical eras. Born on September 28, 1944 in Venice. He first began glassblowing as an apprentice of Alfredo Barbini. After his apprenticeship, the artist began working in the technical and commercial glassblowing industry. Since the mid-1980s, Signoretto has been internationally recognized for his work, with exhibitions and teaching demonstrations all over the world. Our vendor understands that 51 of these black 'Cavello' were commissioned by Ferrari to be produced for dealers and that this one was 'Number 51' kept by the factory for sale. It was purchased in Murano from the Vetreria Bisanzio Murano and comes with a Certificate of Authenticity issued by them.Measuring 43cm high it comes mounted on a white metal stand and is signed by the artist.Please contact Shan Stokes on 07890 0933372 / shan@silverstoneauctions.com to discuss the lot in more detail. Click here for more information and any additional photographs

AMIOT, Joseph Marie (1718-1793), and others. Memoires concernant l 'histoire, les sciences, les arts, les meurs, les usages, &c. des chinois: par les missionaires de Pekin. Paris: Nyon, 1776-1791.15 volumes, 4to (250 x 195 mm). Half-titles to vols.I-II and IX-XV, 2 engraved frontispiece portraits of the Qianlong Emperor and Amiot, 193 engraved plates (5 folding, plate 1, a portrait of Confucius, bound as the frontispiece to vol.XII). (Occasional light spotting and toning.) Contemporary French mottled calf, edges stained red (a few joints starting, some wear to spines, extremities, and a few lettering-pieces). Provenance: Lord Clifford Ugbrooke (Ugbrooke Library stamps).  FIRST EDITION of this survey by Jesuit missionaries containing translations of classic Chinese works of law, essays on Chinese linguistics, philosophy, science, cultural life, and politics. Vol.VII is a reprint of Amiot's Art militaire des Chinois (Paris, 1772), considered the first translation of ancient Chinese military strategy into a European language. Missionaries who contributed to this work include Amiot, Cibot, Bourgeois, Poirot, Ko and Yang. The complete series comprises 17 volumes with vols.XVI and XVII published a few decades later in 1814 under a different imprint; complete 17 volume sets are infrequently found on the market. Brunet 3, 1596; Cordier, Sinica I, 54-55; Lust 96.  Property from a Prominent Chicago CollectionFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

MACHIAVELLI, Niccolo (1469-1527).   The Works of the Famous Nicholas Machiavel, Citizen and Secretary of Florence. Written originally in Italian, and from thence newly and faithfully Translated into English... Henry Neville, translator. London: for John Starkey, Charles Harper and John Amery, 1680.  Folio (312 x 193 mm). General title-page and 4 section titles printed within double rule border. (Some dampstaining or browning.) contemporary calf (defective, covers detached).   Provenance: Thomas Shillington (signature on title-page); Tiffany Thayer (102-1959) American actor, founder of Fortean Society (bookplate). Second edition in English of the collected works of Machiavelli, first published in 1675. With section titles for The history of Florence, The Prince, The discourses...upon the first decade of Titus Livius, and The art of war.   ESTC R13145; Wing M-129.Property from the Collection of Edward A. QuattrocchiFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

[CLUB BINDERY] -- [GROLIER CLUB].  Effigies of the Most Famous English Writers from Chaucer to Johnson. New York: The De Vinne Press for the Grolier Club, 1891.8vo (228 x 150 mm). Engraved portrait frontispiece, title printed in red and black. EXTRA-ILLUSTRATED by the addition of 80 engraved portraits. (Some minor offsetting of plates to text.) Contemporary red crushed levant gilt, spine in 6 compartments with 5 raised bands, gilt-lettered in three, the rest gilt-decorated, turn-ins gilt, top edge gilt, others uncut, STAMP-SIGNED BY THE CLUB BINDERY (tiny bump and scuff to top edge, some light rubbing to corners). Provenance: Edwin B. Holden (1861-1906), President of the Grolier Club (bookplate, sold his sale, American Art Association, 28 April 1920, lot 741).  LIMITED EDITION, one of 200 copies of the LARGE-PAPER EDITION of the Grolier catalogue for their exhibit of effigies of English writers, EXTRA ILLUSTRATED by the addition of engraved portraits of English writers and BOUND BY THE CLUB BINDERY.   Edwin B. Holden, an early member of the Grolier club, served as President of the organization in 1906. A FINE ASSOCATION.  Property from a Private Collection, Chicago, IllinoisFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

1979, signed, titled and numbered 31/150 in pencil in the margin, published by Christie's Contemporary Art and printed by J.C. Editions on Arches paper, with both blindstamps, with full margins, etching and aquatint.sheet size 57.5cm x 76.5cm (22.5in x 30in)Footnote: Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The print is in good, original condition with strong colours and no obvious faults to report. The print has been laid down. There is some very light time staining and browning around the edges of the sheet. The print is framed and glazed.

A Contemporary Art Deco Style Mirrored Dressing Table

Bryan Ferry 16x12 Genuine Authentic Signed Autograph Display. High Quality Professionally Mounted . Bryan Ferry CBE born 26 September 1945, is an English singer and songwriter. His voice has been described as an elegant, seductive croon . He also established a distinctive image and sartorial style; according to The Independent, Ferry and his contemporary David Bowie influenced a generation with both their music and their appearances. Peter York described Ferry as an art object who should hang in the Tate. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

* Bristol. Anstie (Samuel, attrib.), Bristol, 1817, aquatint with contemporary hand colouring, proof before letters but after title, margins strengthened with tape, slight mount staining, 465 x 640 mmQty: (1)NOTESRare. No auction records found apart from an example sold in these rooms in April 2019. The City of Bristol Museum and Art Gallery has an example of this print. The British Library has three similar aquatints after Anstie by Clark and Duberg but not this view of the city.

Carr (Sir John). Caledonian Sketches, or a Tour through Scotland in 1807, 1st edition, London: for Mathews and Leigh, 1809, 12 aquatint plates including folding frontispiece, all with later hand-colouring, blind stamp of Maidstone Museum and Public Libraries to title-page, spotting and offsetting to text-leaves adjacent to plates, final page (p. 542, with advertisement) overlaid with translucent paper, contemporary green morocco gilt, rebacked to style, 4to (26.4 x 19.5 cm), together with: Reid (John T.). Art Rambles in the Highlands and Islands of Scotland, 1st edition, London: George Routledge and Sons, 1878, 40 wood-engraved plates and numerous vignettes by Dalziel Brothers, inscribed 'Mrs Dodd, with kind regards from Dalziel Brothers, Christmas 1877' on initial blank, bookplate of Charles Robert Bignold (1892-1970), gilt edges, near-contemporary dark green crushed morocco gilt by Ramage, 4to (24.2 x 17.2 cm), Graham (Robert C.). The Carved Stones of Islay, 1st edition, Glasgow: James Maclehose and Sons, 1895, half-title, etched additional title, map, 32 plates with captioned tissue-guards (nearly all photogravures), top edges gilt, others untrimmed, original quarter cloth, a little pale mottling to sides, 4to, [Mudie, Robert]. A Historical Account of His Majesty's Visit to Scotland, 4th edition, Edinburgh: Oliver & Boyd, 1822, 4 engraved folding plates backed on linen, one other folding plate, plates variably toned and spotted, first plate unevenly folded, gilt gauffered edges, contemporary maroon morocco gilt, arms of the city of Edinburgh to sides, 8vo (21.4 x 12.5 cm), and 7 similar, Scottish history and related, 19th and early-20th century, all finely bound, including Marjory Kennedy-Fraser and Kenneth Cloud, Songs of the Hebrides, volumes 1-2, 1909-17 (half-title, 3 halftone plates, collation unknown, contemporary dark blue morocco gilt for Maclehose, 4to)Qty: (12)NOTESTHE DAVID WILSON LIBRARY PART III: SCOTLAND, HIGHLANDS & ISLANDS Abbey Scenery 488 (Carr).

De Boodt (Anselm). Symbola Varia Diversorum Principum, cum facili isagoge D. Ansemi de Boodt Brugensis, tomus tertius, Prague, 1603, engraved allegorical title, full-page engraved coat-of-arms of Marino Grimano, and 48 engraved emblematic plates, by Aegidius Sadeler, title with slight loss of paper to upper blank margin, some waterstaining and rodent damage to upper inner margins towards rear of volume, occasionally touching a few words (generally not encroaching on plate marks), contemporary limp vellum, soiled and some wear with loss to head of spine, folio, together with: Gargiulo (Raffaele). Raccolta de Monumenti piu interessanti del Rl. Museo Borbonico e di varie collezioni private, Naples, 1825, numerous line engraved plates of antiquities, occasional light spotting (heavier to front blank and title), bookplate of Thomas Worsley D.D., Master of Downing, to front pastedown, 19th century half vellum, some light soiling, 4to, plus Pennazzi (Andrea). Vita del Glorioso S. Eustizio Sacerdote, e Martire Il di cui Santo Corpo riposa nel Territorio di Soriano,..., Montefiascone, 1721, black & white engraved frontispiece by Louis Gormier, later inscription to the title page, folding plates to pp. 92 & 166, ex-library copy with associated bookplates & stamps to front endpapers, contemporary gilt decorated mottled full calf, front board & spine partially detached, boards & spine rubbed with minor loss to head & foot, 8vo, and Cennini (Cennino), Treatise On Painting written by Cennino Cennini in the year 1437;..., Edward Lumley, 1844, ex-libris bookplate to front pastedown 'From the Library of William Morris Kelmscott House Hammersmith', loose binding, front gutters cracked, spine partially detached, all edges gilt, publishers original gilt decorated white cloth, boards & spine toned & rubbed with some minor tears & loss, 8vo, and Lalanne (Maxime), Traité de La Gravure, Cadart et Luquet, Paris, 1866, 8 black & white plates etched by the author, some light spotting throughout, contemporary gilt decorated half calf, boards & spine rubbed to head & foot, 8vo, plus other 19th & 20th century miscellaneous art reference and literature, including The Royal Natural History, 6 volumes, edited by Richard Lydekker, Frederick Warne & Co., 1893-94, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQty: (6 shelves)

* Heath (Archie Edward, 1887-1961). An archive of manuscript and typescript lecture notes, letters, printed articles and pamphlets by Archie Edward Heath, Professor of Philosophy at University College, Swansea from 1925 to 1952, together with an oil portrait of Archie Heath by Jean Creedy, circa 1950, including lecture notes, typescript and manuscript, many with his corrections with titles including 'The Physiological Approach: Body and Mind', 'Moral Values: The Rationalist View', 'The Philosopher as Critic', 'The Demand for Construction in Philosophy', 'Disunity in the Self: Control through Knowledge', 'A Rationalist Talks About Values', 'The Relation Between Aesthetic Appreciation and Objective Reality', 'A Scientific Basis for Freedom', 'The Basis of Freedom: An Essay in Scientific Method', 'Philosophy as Poet and Prophet, Reflection in the field of values', plus printed pamphlets 'Thinking Ahead. The Place of Reflection in Civilization' and 'A Psychological Approach to the Problems of Sexual Hygiene. II. The Game of Life and the Art of Love', a manuscript letter from Albert Mansbridge (1876-1952, educator, and pioneer of adult education), some correspondence with Jasmine Chatterton, literary advisors regarding the publication of his book 'Psychology Questions Answered', 1946, correspondence with Kodak Research Laboratory regarding printing a history chart, 1955, a Trinity College, Cambridge menu to commemorate the unveiling of a statue of Alfred, Lord Tennyson, 19 October 1909, signed in pencil by Heath and others, some overall toning and a few tears and folds, staple rust, all loosely contained in contemporary folder with manuscript label (some spotting), the framed oil portrait of A.E. Heath by Jean Creedy (1920-2014) measuring 38 x 27.5 cmQty: (archive)NOTESArchie Edward Heath (1887-1961) was Professor of Philosophy at University College, Swansea from 1925 to 1952, a friend of Bertrand Russell and contemporary of Ludwig Wittgenstein, who much influenced the 'Swansea School of Philosophy', which included Wittgenstein's pupil Rush Rhees, Dewi Phillips and others.

Harding (Silvester). The Biographical Mirrour, or, Connoiseur's Repertory; comprizing a series of ancient and modern English portraits of eminent ... persons ... engraved from original pictures or drawings, 3 volumes, London: E. and S. Harding, 1795-1810?, text by Francis Godolphin Waldron, volume 1 with additional title, numerous engraved portraits, variable spotting and offsetting, hinges strengthened, contemporary mottled calf, rebacked, spines rubbed, boards worn, 4to, together with: Glasse (Hannah), The Complete Confectioner; or the Whole Art of Confectionary made Plain and Easy ..., first edition, second issue, London: J. Cooke, c. 1765, Glasse's facsimile signature on pp.iv and 1, 16 pp. publisher's catalogue at rear (1st two leaves close-trimmed at foot affecting text), lightly toned throughout, front free endpaper deficient, each pastedown with an early ink manuscript ownership inscription, contemporary sheep, worn, boards detached, 8vo, plus: Encyclopedie Methodique, Tableau Encyclopedique et Methodique des Trois Regnes de la Nature, [Insectes], 2 volumes, [Paris: Agasse, 1797], 18th part, half-title, lacking title, but with title for 19th part, 267 (of 268) engraved plates (plate 268 deficient), rectos of title and plates 131, 132 & 267 each with circular ink ex-libris stamp, 1 plate in volume 2 partially coloured with light, neat red crayon, 6 plates with some small & neat red crayon underlining, both volumes with intermittent pale dampstaining to margins at head and fore-edge, somewhat affecting a few plates, hinges cracked, 19th century quarter morocco, somewhat rubbed, corners showing, 4to, with 16 other titles including: The Pleasures of Hope in two parts, by Thomas Campbell, 2nd edition, 1800; Tratado Elemental de Botanica Teorico-Practico, by Antonio Blanco, 2 volumes in 1, 1834; The Silver Swan, a fairy tale, by Madame de Chatelain, 1847Qty: (27)NOTESGlasse: Cagle 708; Maclean pp.61-62. The second issue of the first edition of circa 1760, with J. Cooke imprint. Encyclopedia Methodique: Nissen ZBI 4621.

Charles Conder (British, 1868-1909)Confidencessigned 'Charles Conder' (lower right) oil on board 29.2 x 32.4cm (11 1/2 x 12 3/4in).There is a preparatory oil sketch for a still life of fruit on the reverseFootnotes:ProvenancePrivate collection, UK.ExhibitedLondon, The Contemporary Art Society, 1911, no. 163. (according to label affixed to backboard).For further information on this lot please visit Bonhams.com