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2 925 silver stone set pendants on chains. An Art Nouveau style pendant set with amethyst stones on a 16" silver snake chain. Together with a shell set contemporary style pendant on a chunky 15" silver box chain.

*Trevor Chamberlain (b.1933) 'AUTUMN MORNING, COLNE ESTUARY' Signed and dated 1965, l.r., inscribed with title verso, oil on canvas 40.5 x 50.5cm Provenance: The property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British art. *Artist's Resale Right may apply to this lot.

*Trevor Chamberlain (b.1933) 'EVENING, ISLE OF DOGS'; 'ACROSS THE HARBOUR, HOLY ISLAND' Two, both signed and dated '89 and '79, oil on board 16 x 21.5cm and 15.5 x 23.5cm (2) Provenance: The property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British art. *Artist's Resale Right may apply to this lot.

*Trevor Chamberlain (b.1933) 'TRAVELLING UPSTREAM PAST ROTHERHITHE'; 'GAUNT WINTER TREES'; 'PUDDLE ON THE LANE' Three, signed and dated '81, '79 and '80, inscribed with titles verso, watercolour 22.5 x 32cm, 17.5 x 24.5cm and 24 x 17cm (3) Provenance: The property of the late Christopher Dyment (1939-2016), a voracious collector of contemporary Japanese prints, Toscanini memorabilia and 20th century British Art. *Artist's Resale Right may apply to this lot.

A contemporary Art Nouveau style hallmarked silver photo frame, height 19cm.

Allais (Louis-Jean), Athanase Détournelle & Antoine-Laurent-Thomas Vandoyer, engravers and publishers. Projets d'Architecture et autres productions de cet art, qui ont mérités les Grands Prix accordés par l'Académie, par l'Institut National de France, et par des Jurys du choix des Artistes ou du Gouvernement, second series, on Papier grand Colombier d'Hollande, (watermarked Van der Ley), title with French nationalistic wood-engraved ornament, fine engraved additional pictorial title and 120 plates (520 x 358mm.), all ff. numbered in pencil in top right-hand corner, otherwise generally clean and crisp, with occasional light spotting or finger-marking, contemporary calf-backed marbled boards, richly gilt spine with architectural instruments motifs, small stars and foliage decorations, along with a large red morocco label, some fading to marbled boards, corners neatly restored with green vellum, rubbed, folio (binding 534 x 380mm.), Paris, Détournelle & J. Charles, 1806. ⁂ A very good copy of this scarce collection of the second series of prize-winning architectural designs. Includes fountains, aqueducts, lighthouses, prisons, gardens, and triumphal arches and columns.

[Franklin (Benjamin)] The Art of Making Money Plenty in Every Man's Pocket, engraved throughout with vignette title and rebus, printed on 8 leaves on rectos only, contemporary ink inscription "J.Scott Hayward 1826" to head of title, a little foxed and soiled, original stiff printed wrappers, worn, frayed at corners, Edinburgh, Edward Mitchell, [c.1820] § Rede (Leman Thomas) The Art of Money Getting, first edition, hand-coloured aquatint frontispiece with scenes of a man's life by Joe Lisle, lightly offset, some foxing, one leaf stained, becoming loose, contemporary cloth, a little stained, 1828 § Stages of Human Life (The), 16pp., printed on rectos only, 8 hand-coloured wood-engraved illustrations, original stiff pictorial blue wrappers, a little soiled, n.p., [c.1850], 8vo et infra (3)⁂ The first is Franklin's famous rebus, first published separately in 1791 but originally from his Poor Richard's Almanac of 1758. Library Hub lists the British Library copy only in the UK, and 2 UK copies of the second item (BL and Oxford University).

ARR Edward Bawden (1903-1989) - Coloured lithograph (after a lino cut) - "Cattle Market, Braintree", printed in black, red, blue and fawn, showing a busy market scene with auctioneer conducting sale to left hand side surrounded by pens of cattle, sheep and pigs and numerous figures, fully signed in pencil to lower right margin, 20.5ins x 30.5ins, published by Contemporary Lithograph Ltd, London, published 1937, in modern whitewood frame and glazed Note: Illustrated in "Art for Everyone - Contemporary Lithographs Ltd" Ruth Artmonsky 2007 (reprinted 2010 and illustrated in colour on front cover) and with copy of book to go with this lot

John Morgan, RBA (British, 1823-1886)The Sewing Class oil on canvas95 x 143.8cm (37 3/8 x 56 5/8in).Footnotes:ProvenanceAnon. sale, Christie's, London, 20 October 1998, lot 140.Private collection, UK.The present lot is a tender portrayal of Victorian childhood, typical of John Morgan's oeuvre. Morgan, like many of his contemporary genre painters, often used a schoolroom as a setting, to portray children with affection, while also engendering a message of virtue. With an increasing focus on public education - Forster's Education Act of 1870 decreeing that education was a public service - and the growing establishment of local school boards leading to compulsory attendance by 1880, the village school in particular, highlighted the Victorian aspiration to educate even the poorest children.Other examples of Morgan's schoolroom scenes include A Village School in Bedfordshire, 1869 (Royal Academy, 1870, no. 370) - which appears to be the same Leighton-Buzzard schoolroom as the present lot - and Interior of a Village School, which is the collection of the Mappin Art Gallery, Sheffield. We are grateful to Terry Parker for his assistance in preparing this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

David Wilkie Wynfield (British, 1837-1887)The New Curate signed and dated 'D. W. Wynfield/1876' (lower right)oil on canvas88.5 x 140cm (34 13/16 x 55 1/8in).Footnotes:ProvenancePrivate collection, Italy.ExhibitedLondon, Royal Academy, 1876, no. 101.Paris, Universal Exposition, 1878. LiteratureReports of the United States Commissioners to the Paris Universal Exposition, 1878, vol. 1, p. 62.The Art Journal, 1880, New York, D. Appleton & Co. Publishers, vol. 6, p. 121.David Wilkie Wynfield painted and exhibited historical and literary subjects at the Royal Academy from 1859. His great uncle and godfather was the Scottish painter Sir David Wilkie. Wynfield was born in India in 1837 and after his family moved back to London in 1856, he enrolled at the art school run by James Mathew Leigh. He became associated with the St John's Wood Clique, a group of artists who would meet regularly to discuss the ideas explored in their practice. Notably, Philip Hermogenes Calderon, George Dunlop Leslie and Henry Stacy Marks were members. Wynfield became interested in photography and developed a technique of shallow-focus portrait photography. Among those he captured were Frederic Leighton, George Frederic Watts, Simeon Solomon and Alphonse Legros. In the present lot, the artist depicts a welcome tea party for the new curate. The curate, positioned to the left of the composition, slightly back from the table, is politely engaged and inclined forward, as the mother surveys closely. Her two daughters, beautifully attired, admire from the other end of the table. The painting was well received and exhibited not only at the Royal Academy but then at the Paris Exposition two years later, the same year as William Powell Frith's renowned exhibit The Derby Day. A description of the present lot, by the United States Commissioners to the Paris Universal Exposition, reads as follows: 'Among the scenes of ordinary life and family interiors, may be mentioned The New Curate by Mr. D. W. Wynfield, which is an elaborate representation of a very commonplace subject, painted with extreme clearness and precision, but with a certain quiet sense of humor and character'. Another contemporary review of the work - in The Art Journal - confirms the significance of a new curate in an English country village and how in the present depiction, the curate under 'the very penetrating glances of this sweet-looking matron and her bright-eyed daughters...bears the ordeal unflinchingly'. The review continues: 'The chief characteristics of the picture are truthfulness and simplicity; nothing is either exaggerated or out of harmony. Mr. Wynfield has wisely adhered closely to his subject, and the interest is in no way divided, the accessories being as unobtrusive and free from extravagance as the whole subject. A more pleasant and homelike picture of English country life could not readily be seen. Mr. Wynfield's well-earned reputation as a healthy realist painter is thoroughly sustained'.The present lot was engraved by Herbert Bourne (1820-1907) and printed by D. Appleton & Co., New York. The engraving was illustrated in The Graphic, volume XIII, no. 346, 15 July 1876.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

John Emms (British, 1843-1912)The Bitch Pack of the Meath Foxhounds signed and dated 'JNO. EMMS/1896' (lower right)oil on canvas111 x 157.5cm (43 11/16 x 62in).Footnotes:ProvenanceHahn Fine Art Galleries, London.Private collection, USA.Anon. sale, Bonhams, New York, 16 February 2010, lot 121.Private collection, UK (acquired from the above sale).A keen huntsman with a consummate interest in the sporting field, John Emms had the rare ability to give real life to his subject. He was at his very best when painting dogs; with confident use of fluid brushstrokes he gives weight and solidity to their different physical characteristics as well as their individual temperaments. We know from contemporary accounts how Emms used to walk to the kennels everyday and return to his studio with one hound after another as he undertook preliminary sketches in working up to the overall composition.Emms was born at Blofield, Norfolk, the son of Henry William Emms, an amateur artist. Emms had two brothers and a sister, who married the brother of Sir William Blake Richmond, PRA. Like many aspiring artists, Emms travelled to London where he became an assistant to Frederic, Lord Leighton, PRA. It was through Leighton that Emms first visited Lyndhurst, when he assisted the former to paint a fresco in Lyndhurst Parish Church. He then made his debut at the Royal Academy in 1866 and proceeded to exhibit elsewhere at the British Institution, Royal Society of British Artists and the New Watercolour Society.In 1872, Emms returned to Lyndhurst where his skill in portraying animals, particularly dogs, as well as his participation in the hunting field and his convivial nature, led to no want of patrons. The Victorian gentleman's love of his horse and dog led to many other commissions including one from the Duke of Newcastle to paint his Clumber spaniels. In 1880 Emms married Fanny Primmer, daughter of a local Lyndhurst gentleman. Soon after their marriage he was working in London but returned in about 1881 to Lyndhurst where he built a large house and studio in Queen's Road.Emms cut a flamboyant figure, always dressed in a long black cloak and matching wide brimmed hat. He and his family led a somewhat bohemian life; when times were good, after selling a painting, he would take Fanny, their three daughters and son up to London to stay in the best hotels and live life to the full. But times were not always good. During the early 1900s Emms suffered a stroke and was unable to work; as a result he took to heavy drinking and the family's finances went into decline. He died in November 1912 aged 71 and is buried in Lyndhurst cemetery.Hunting with Hounds is a tradition in Ireland that goes back to ancient times and features strongly in Celtic literature and legend. There is a pack recorded in the Meath area as early as 1723; the earliest record shows that a Mr Nicholson of Balrath kept a pack of foxhounds at that time, and hounds were kept by the Nicholson family until the beginning of the 19th century. Mr Lowther and Mr Hopkins also kept packs.Historically, the most important hunting establishments in Co. Meath were those of Mr Pollock of Mountainstown, and Mr Gerrard of Gibbstown. In 1813 Messrs Pollock and Gerrard joined packs with kennels at the Castle of Clongill, as the Clongill Hunt, with a subscription, Mr Pollock being Master. At first the Clongill hunted only the north end of the county, but by degrees absorbed the whole. In 1817 the Clongill Hunt became the Meath Hunt. During the War part of the county was lent to the Louth and Ballymacad Hunts, an arrangement which is still partly in operation today. At the time the present lot was painted, the famous John Watson was Master, his mastership spanning from 1891 to 1908.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

John William Waterhouse, RA, RI (British, 1849-1917)Sketch for 'Gather Ye Rosebuds While Ye May' or Narcissus indistinctly signed 'J W Waterhouse' (lower right)oil on canvas68.2 x 50.5cm (26 7/8 x 19 7/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 15 March 1983, lot 75, as Gather Ye Rosebuds While Ye May - sketch.Private collection, UK.Between 1909 and 1914, John William Waterhouse produced approximately one dozen paintings of women picking flowers. These are in varying stages of completion: some were signed, dated, and exhibited, while others have come down to us unfinished and untitled by the artist. At first glance, all appear to be without narrative, in keeping with the Edwardian taste for idyllic scenes of women in nature. Appreciation of them need go no further, but in fact most relate to the ancient Greek myth of Persephone (Proserpine in Latin), a supremely Romantic narrative familiar to Waterhouse's classically educated audience. It was while she was gathering flowers in Sicily's Vale of Enna that Hades (Pluto) carried Persephone down to his infernal realm. Her distraught mother, the harvest goddess Demeter, caused vegetation to wither, prompting her father Zeus to rule that Persephone should be transformed into the queen of Hades for the winter—essentially a death sentence—and returned to Demeter every spring. Rather than showing Persephone dragged into the chasm, as other artists had, Waterhouse characteristically emphasized the beauty and fertility that aroused Hades in the first place. This series, then, epitomizes an important aspect of late Pre-Raphaelitism - the rendering of a spiritually significant theme, in this case a Greek myth about the immortality assured by natural regeneration. Long fascinated with what Shelley called 'the loveliness of terror', Waterhouse had already explored key aspects of Persephone's story—the abduction and transformation of such flower-picking women as Flora, the fleeting passage of flowers' beauty, and figures who endured visits to Hades, such as Psyche. Waterhouse encountered Persephone throughout the literary canon, from Homer and Ovid to Milton, Shelley, Swinburne, and Pater. Ruskin called her the 'Greek Flora' and believed that Greeks 'saw that the force and use of the flower was only in its death.' In the Christmas 1909 number of The Art Journal, the writer Rose E.D. Sketchley repeatedly linked Waterhouse's oeuvre with 'the last poem of living paganism', De Raptu Proserpinae (The Rape of Persephone), written in the manner of Ovid by Claudian (AD 370-404). Singing as she wove a tapestry in nature's colours, Persephone was one of the sources that inspired Tennyson to write The Lady of Shalott, a story Waterhouse imagined so famously. Thus it makes sense that Waterhouse decorated the title page of his own Tennyson volume with a pencil sketch of Persephone bending down to pick flowers (Michael Titterington Collection). As he conceived this drawing, Waterhouse surely had in mind a well-known work by his Pre-Raphaelite forerunner Edward Burne-Jones, The March Marigold of 1870 (fig 1, private collection). Many of Waterhouse's Persephone paintings offer expansive Arcadian landscapes, painted broadly in a bright palette that suggests fresh air but not dazzling sunshine and deep shade. In 1909 Waterhouse completed the first of them, 'Gather Ye Rosebuds While Ye May' (fig 2) for his patron Brodie Henderson. This shows Persephone and a companion in the foreground, with two more maidens visible in the distance. In 1910 the artist exhibited at the Royal Academy 'Spring Spreads One Green Lap of Flowers' — a girl kneeling to pick flowers alone. Completed in 1912 was Narcissus, which shows a woman bending forward to pick flowers; it was narcissi that Persephone was picking when she was abducted. The series closed in 1914 with the kneeling Flora, whose title, though pertinent to the interrelationship of women and flowers, would more correctly have been Persephone. Possibly due to the start of World War I, Waterhouse's subsequent pictures returned to the more recognisable—arguably more British—narratives of the early Pre-Raphaelites, including Tristram and Isolde and Miranda—The Tempest.We know that Waterhouse thought carefully about the Persephone pictures because many preparatory works have come down to us. For example, there is a pencil study that shows the girl using her other arm to pick flowers (Dr. Dennis T. Lanigan Collection). In his day, critics praised Waterhouse's capacity to compose without exhaustive preparations. On canvas, the design's outlines would first be brushed in with thin, dark oil paint on the canvas's white ground; the forms were then laid in with neutral colour, before the virtuoso flesh painting began. Because the present oil painting was not fully worked up, it offers valuable insights on how Waterhouse elaborated the face and costume before tackling the jewel-like flowers and verdant landscape. This picture also underscores how intently Waterhouse wanted to get his primary figure 'right'; here he focuses tightly on her to maximize the expressivity of her pose.Because it shows the girl reaching down with her right arm, the present picture could have been made in anticipation of either 'Gather Ye Rosebuds While Ye May' (1909) or Narcissus (1912) — or both. The fact that Waterhouse signed it suggests he may have had it sitting in his studio when he presented it to someone, perhaps a visitor.Characteristic Waterhouse touches appear across the surface. Most striking are the flowers, which hover magically in the girl's hand and in the grass, and the stream reminding viewers that water is the feminine element. Notice, too, the tree trunks visible at left and top, evidence of Waterhouse's ongoing fascination with trees as connectors of the upper and lower realms. Sketchley characterised the Symbolism of such decorative landscapes as 'a region where all things are poetical symbols. The trees standing in thick groves against the sky, the streams and dainty fountains in the flowered grass... are vehicles of a poetical idea.'Though we do not know her name, this model epitomises Waterhouse's ideal female type and can be related to contemporary works by him. She is clearly painted from the favourite model who posed for 'Gather Ye Rosebuds While Ye May' (1909) and Penelope and her Suitors (1912).The uncannily modern beauty of Waterhouse's women endures, still drawing admirers to his paintings, whatever their subject or degree of completion.We are grateful to Peter Trippi for compiling this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

NO RESERVE Russia.- Bobrinskii (Count Alexei) Kurgani i Sluchainiya Arkheologicheskiya Nakhodki bliz Mestechka Smeli [Burial mounds and fortuitous archaeological discoveries near Smiela], 2 vol. only (of 3), text in Russian, 4 folding maps and 55 plates, mostly lithographed, 10 chromolithographed and heightened with gold and/or silver, 2 folding, contemporary library half roan, original printed wrappers bound in, rubbed and scuffed, St. Petersburg, V.S. Balashev, 1887-94 § Tooke (William) View of the Russian Empire, 3 vol., second edition, folding engraved map, spotting, later half roan, 1800; and 3 others on Russian art, some with chromolithographs, 4to & 8vo (8) ⁂ Bobrinskii was head of the Imperial Archaeological Commission from 1886 to 1917 and his collection is now part of the Hermitage.

6th century AD. A lidded marble reliquary casket in the shape of a church, ciborium, pyramidal lid with palm branch to each edge joining at the apex, a central Greek cross within a laurel wreath to three faces, a chi-rho within a laurel wreath to the front; the main body of the reliquary composed of arcaded outer faces supported by columns with a central pillar; the pillar with integrated columns and decorative door; the upper facade with a frieze depicting Agnus Dei within triangular border with flying archangels Michael and Gabriel to each side; the rear panel with a frieze of foliage scrolls, two crosses within arches flanking; the side panels with vine branches and birds; egg-and-dart border to the upper rim. See Grabar, A., L'età d'oro di Giustiniano, Milan, 1966; Wamser L., Zahlhaas, G., Rom und Byzanz, Archaologischen Kostbarkeiten aus Bayern, München, 1999; Hahn C. ed., Objects of devotion and desire, medieval relic to contemporary art, January 27-April 30, 2011, catalogue of the exhibition at the he Bertha and Karl Lebsdorf Art Gallery, Hunter College, New York, 2011.7.4 kg, 31cm (12 1/4"). From a late 1990s private collection; formerly acquired on the UK art market in the early 1980s; accompanied by an academic report by Dr Raffaele D'Amato; and a geological report No. TL3256 by geology consultant Dr R. L. Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.155132-10037. A video of this lot can be viewed on Timeline Auctions website. Fine condition. Extremely rare.

9th-12th century AD. A parcel-gilt silver diadem or brow-band, penannular with scrolled terminals; the outer face decorated with a finely engraved running knotwork pattern between borders; contemporary repair to one side. Cf. Jilina, N. V., Slavic and Old Russian Art of Jewelry and its roots, St. Petersburg, 2006, p.179, fig.2.35 grams, 13.5cm (5 1/4"). Property of a professional collector; acquired before 1990.Fine condition.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 400cm x 300cm, geometric silver field.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 275cm x 180cm, geometric silver field.

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Terrace plant signed and dated 'Ghika/65' (lower right)oil on canvas100 x 73 cm. Footnotes:ExhibitedAthens, National Gallery - Alexandros Soutzos Museum, Ghika, May 1973, no. 115 (listed in the exhibition catalogue). Athens, Benaki Museum, N. Hadjikyriakos Ghika, The Apollonian, the Dionysian 1906-1994, November 11, 2006 - January 15, 2007 (illustrated in the exhibition catalogue, no. 236, p. 140).LiteratureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 366, p. 300 (illustrated).A riot of festive colours and a lacework of energetic lines and rhythmically orchestrated forms, this luminous and cheerful painting of Dionysian contemplation and paganistic zeal aptly illustrates Ghika's ability to filter the world around him through his rich imagination and transform an ordinary terrace plant into an expression of the enthusiasm sparked in him by nature. Every part in the picture is imbued with the breath of the exuberant flora and the refractions of light, exploding into dazzling mosaic-like fragments that spin and swirl around enigmatic webs of geometric and patterned features so that the whole composition is in a state of perpetual becoming, immersed in a constantly changing and revived atmosphere.1 From the late 1950s on, Ghika's ordered architectural structures were gradually replaced by a world subject to natural forces,2 to explosions of colour and form, where trees, leaves, bushes and flowers were set in motion, engaged in a perpetual Dionysian dance. Inspired perhaps by Japanese calligraphy's pronounced gestures and constant flow of brush and pen, his landscapes became denser and more mystical, reflecting his perception of nature as a cosmogony invested with pantheistic rituals and Oriental myths.'I tried to evoke the whispering of leaves, the buzz of insects, the movements of tree branches, the breathing of the juices, the swirling of petals. The artist discovers pulsating rhythms derived from his intimate relationship with nature. He discovers them in the leaves and insects, in the light and the shadows cast by wind-swayed trees, in the flight of birds and the nuances of colour. In other words, I want the viewer to feel the knife used to carve out nature. I want him or her to even feel the music, the sounds emanating from the orchestration of different forms, different shapes, different lines and not only the orchestration but, if possible, even the inherent scent they exude, which is the most elusive sense of all.'3 'Every artist who is by nature a colorist bears within him his own harmonies of colour, which are never exactly those of nature but those of his own ideal of nature. In my case, these harmonies are mainly composed of mauves, greys and pinks, but sun-drenched, sun-saturated colors that have at the same time preserved something of the brightness which might have been theirs in a less cruel light.'4 'What remains as my strongest impression about Ghika's work is its constant inspiration from nature – the wonder, the strength, the beauty, the power, the patterns. I asked him if nature was always inspiring to him and he answered, Always. No matter what happens in life, nature is always an inspiration.'5 1 See N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian [in Greek], exhibition catalogue, Benaki Museum, Athens 2006, p. 52.2 See M. Achimastou-Potamianou, 'The Art of Ghika' [in Greek], in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975', p. 340.3 See N. Hadjikyriakos-Ghika, The Birth of New Art [in Greek], Astrolavos-Efthini editions, Athens 1987, pp. 232-234; N. Hadjikyriakos-Ghika, In Front of Others [in Greek], Athens 1990, p. 25. See also transcribed excerpts from the 'Monogramma' television documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika [in Greek], Tegopoulos editions, Athens, 2009, p. 150.4 Ghika's interview by E. Roditi, The Charioteer magazine, vol. 1, no. 2, Autumn 1960, p. 55. 5 H. Livas, Contemporary Greek Artists, Vantage Press, New York, 1993, p. 11.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)Fleurs sur fond blanc signed and dated 'Tsingos/57' (upper right)oil on canvas53 x 64 cm.Footnotes:ExhibitedEleusis, Leonidas Kanellopoulos Cultural Centre, Thanos Tsingos, July-August 2005, no. 34 (illustrated in the exhibition catalogue, p. 61).LiteratureO Kosmos tou Ependyti newspaper, August 6, 2005, fine arts section, p. 18 (illustrated).K magazine (Kathimerini), p. 95 (illustrated).Contemporary Greek Art Institute, http://dp.iset.gr, Thanos Tsingos / Artworks, Athens 2010-2016, p. 1 (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

Yiannis Moralis (Greek, 1916-2009)Composition signed in Greek and dated '1960' (lower left)acrylic on hardboard100 x 366 cm.Footnotes:ExhibitedAthens, Benaki Museum, Yannis Moralis, Architectural Compositions, February 10 - April 30, 2011 (illustrated in the exhibition catalogue, pp. 52-53).LiteratureZygos magazine, no. 80, July 1962, p. 25, no. 61 (illustrated).Architectoniki magazine, no. 42, November-December 1963, p. 8 (mentioned), p. 11, no.16 (illustrated).Architectoniki magazine, no. 46, July-August 1964, p. 44 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 383 (mentioned).Yannis Moralis, Functional Art, Polyplano editions, Athens 1976, p. 29 (illustrated).Sima magazine, no. 22, no. 5, March 1979, p. 40 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 782, p. 476 (mentioned), p. 496 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, p. 254 (mentioned).Yannis Moralis, Epta Imeres, Kathimerini weekly magazine, April 10, 1994, p. 5 (mentioned).Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 168 (mentioned).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 139 (mentioned).Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 218 (mentioned).A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2011, pp. 209, 245 (mentioned).Gr Design magazine, September 2018, p. 12 (mentioned).A monumental Moralis, Composition 1, 2 is one of the most beautiful and imposing paintings by the artist ever to appear on the auction market. Epic in scale and magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.Disciplined line and pure form, reminiscent of architectural fragments from an ancient Greek temple or a neoclassical Athenian mansion, set up a perfectly balanced geometric edifice from which engaging floral motifs emerge playfully against luminous patches of blue colour indicative of clear skies. The well thought out compositional scheme, the shallow depth, suggestive of sculptural relief, and the overall serene rhythm, dictated by the classical sense for human scale, compose an evocative world of poetic images that revives the archetypal universe of an Ionian frieze.Pointing out Moralis's ideological kinship with his classical models, M. Lambraki-Plaka, Director of the Athens National Gallery, notes: 'Verticals, horizontals, diagonals and curves compose a harmonious whole full of intensity, hidden under apparent tranquillity.'3 As Nobel laureate O. Elytis once said of Moralis, 'by using a limited vocabulary of form, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'4 Elaborating on the relationship of painting and architecture in Moralis' work from the 1960s, art critic A. Xydis notes: 'For a long time I have believed that the qualities of Moralis's art were particularly appropriate to the full expression of a work of architecture. His strength in and love of composition, his sensitive and balanced colour harmonies, the diligence of his technique, and the clarity and monumentality in the organization of planes and volumes, make up a combination of qualities much sought after by architects. They are even related to those that belong to a good architect, whose artistic temperament must at every moment be subjected to the control of reason.'5 1 Composition adorned the Xenia hotel in Florina, designed in 1960 by architect G. Nikoletopoulos in the vein of the legendary modernist Aris Konstantinidis. As noted by art critic A. Xydis, 'since 1959, Moralis produced a series of epoch-making works that paved the way to a wider use of artists by architects, who realised that they had only to gain from such a collaboration. In his first such works [as is the case with the Florina Xenia], Moralis did not depart far from the easel painting techniques he had been using at the time, the more so as these works were intended for interior spaces. He worked either in situ or in his studio.' A. Xydis, 'Auspicious Collaboration of Art and Architecture, the Work of Yannis Moralis 1959-1963' [in Greek], Architectoniki journal, no. 42, November-December 1963, p. 8.2 As noted by the artist himself, Composition was painted in the studio of artist Natalia Mela. See Yannis Moralis, Architectural Compositions [in Greek], exhibition catalogue, Benaki Museum, Athens 2011, p. 53.3 M. Lambraki-Plaka, 'Classic and Human-centred' [in Greek], Kathimerini daily, Epta Imeres, 10.4.1994, p. 114 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972.5 Xydis, p. 8.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 Spyropoulos (Greek, 1912-1990)Tassis B signed in Greek (lower left); signed, titled and dated 'JANNIS SPYROPOULOS TASSIS B 1969' (on the stretcher)oil on canvas 116 x 89 cm.Footnotes:ProvenanceOlga N. Sheldon collection (until 1973).Sheldon Memorial Art Gallery, The Nebraska Art Association permanent collection. Private collection.ExhibitedWashington D.C., National Collection of Fine Arts, Smithsonian Institution / Lincoln, Nebraska, University of Nebraska, Sheldon Memorial Art Gallery, Jannis Spyropoulos Recent Paintings, September 19 - October 19, 1969 / November 11 - December 7, 1969 (possibly, based on label on the reverse).LiteratureY. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral dissertation, Athens 1994, no. 1040, pp. 191, 198 (mentioned), p. 303 (listed).Y. Papaioannou, Yannis Spyropoulos – Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, pp. 292, 312 (mentioned).Contemporary Greek Art Institute, http://dp.iset.gr, Jannis Spyropoulos / Artworks, Athens 2012-2016, p. 5 (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

Yiannis Moralis (Greek, 1916-2009)Nudes signed in Greek and dated '56' (lower left); signed, inscribed and dated (on the reverse)oil on cardboard70 x 50.5 cm.Footnotes:ProvenanceAcquired directly from the artist by the family of the present owner.LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 95, p. 99 (illustrated).Noble simplicity and calm grandeur mark Moralis's Two nudes, achieving a modern realization of the classical ideal: the elimination of the temporary, the elevation of form to a symbol and the pursuit of balance between lyrical feeling and intellectual thought.Reviewing the artist's work up to 1958, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'In seeking to enrich the intellectual content of his work, Moralis was led to a conscious and gradual conquest of space where the construction is at once solid and expressive; where every inch of painted surface is subordinate to the spirit of the canvas which expresses an enduring world. Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1The female nude has always been a key subject in Moralis's art, tracing his stylistic development and revealing the wide range of his art historical and intellectual interests.2 In the 1950s, his evocative female nudes, either sitting or reclining, were gradually stripped of descriptive detail and handled in a more abstractive fashion, without, however, losing their recognizable form.3 In Two nudes, the purity of form, the composed immobility, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek idealistic art4 (compare Composition, 1951, Bonhams, Greek Sale, 17 April 2019, lot 32.)By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis expresses what is permanent and universal. 'Dedicated to the human figure, particularly the female one, Moralis has given us some of the most significant and intrinsic aspects of 20th c. art—not only of Greek but of world art. Above all else his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and the transcendental.'5 As N. Hadjikyriakos-Ghika once noted, 'Moralis's youthful females, closely attuned to the idealism of ancient Greek art, are lovable forms endowed with grace and tenderness, created by the Muses and the Hours.'6 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. See also M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.2 See D. Papastamos, 'Yannis Moralis the Artist' in Yannis Moralis, Commercial Bank of Greece, Athens 1988, pp. 27, 28.3 See K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, p. 17.4 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean, Athens 1999, p. 126.5 C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34.6 N. Hadjikyriakos-Ghika, Nea Estia magazine, no. 1245, 15 May 1979. 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)Hof Blick signed (lower right), dated '30' and inscribed indistinctly (lower left); signed 'Jo Busianis' and inscribed 'Hof Blick/Paris' (on the pass-par-tout)watercolour and pencil on paper41 x 52 cm.Footnotes:ProvenancePurchased from the artist and thence by descent to the present owner.In this brilliant piece of fluid colour and evocative form painted during the artist's 'wet period' in Paris,1 all elements of the natural and manmade world2 translate into abstract shapes and shimmering blots and washes of thinned paint laid with a directness that immediately captures the eye. Invested with the lightness of watercolour, this precious jewel conveys a festive sense of carefree joy without losing its identity and coherence. 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 1 Bouzianis himself called this period 'wet' because he focused primarily on watercolour painting.2 The black iron gate motif in the foreground is used as a vital compositional element and appears in a number of the artist's watercolours from the period. (Compare Yard view in the A. Antonopoulos collection). See also A. Kouria, 55 Unknown Works by Known Greek Artists, ELIA edition, Athens 2002, p. 100.3 MS, Leipziger Volkszeitung daily, 23.12.1932.4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 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

Alexis Akrithakis (Greek, 1939-1994)L' Alphabet Grec signed and dated 'Akrithakis 70' (lower right); signed in Greek, titled and inscribed 'Berlin / L'ALPHABET GREC/ Berlin Januar 1970' (on the reverse)tempera and ink on card50 x 65 cm.Painted in 1970.Footnotes:ProvenanceSotheby's, London, Greek Sale, 16 November 2005, lot 32.Private collection, UK. Acquired from the above by Epsilon Art collection. ExhibitedThessaloniki, Macedonian Museum of Contemporary Art - Thessaloniki Cultural Capital of Europe, Akrithakis, retrospective exhibition, December 19, 1997 - February 15, 1998 (illustrated in the exhibition catalogue, p. 70).Athens, National Gallery - Alexandros Soutzos Museum, Akrithakis, retrospective exhibition, May 4 - June 29, 1998 (illustrated in the exhibition catalogue, p. 70). LiteratureArti magazine, vol. 4, March-April 1991, p. 61 (illustrated).D. Zacharopoulos, Alexis Akrithakis, K. Adam editions, Athens 2005, p. 35 (illustrated).D. Zacharopoulos, Alexis Akrithakis, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 20 (illustrated).Contemporary Greek Art Institute, http://dp.iset.gr, Alexis Akrithakis / Artworks, Athens 2012-2016, 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

Theodoros Stamos (Greek/American, 1922-1997)Infinity Field Lefkada Series #I, 1974 titled, dated and signed on the overlap 'Infinity Field Lefkada Series #I, 1974, Stamos'acrylic on canvas157 x 116 cm.Footnotes:ProvenanceDoyle, New York, Modern & Contemporary Art Sale, 25 May 2011, lot 83.Piasa, Paris, Art Moderne, Art Contemporain Sculpture & Art Hellénique, 30 November 2016, lot 21. Private collection, Athens. ExhibitedFlorida, Metcalfe Klopfer Gallery, Theodoros Stamos Selections 1959-1986, February 11 - March 10, 1999, no. 31 (illustrated in the exhibition catalogue, p. 71).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

A CARLTON WARE MOULDED OAK TREE EWER, 36CM H, PRINTED MARK AND A CONTEMPORARY SHELLEY ART DECO BANDED VASE, PRINTED MARK  

A BRITISH ART DECO EBCO BROWN BAKELITE BOOK STAND AND A CONTEMPORARY 1930S EDISON ELECTRIC BAKELITE MANTEL CLOCK, BOOKCASE 50CM L

Harte (Walter). Essays on Husbandry. Essay I. A General Introduction, shewing, that Agriculture is the basis and support of all flourishing communities; - the antient and present state of that useful art; - Agriculture, Manufactures, Trade, and Commerce justly harmonized; - of the right Cultivation of our Colonies; - together with the Defects, Omissions, and possible Improvements in English Husbandry. Essay II. An Account of some Experiments tending to improve the Culture of Lucerne by Transplantation … To which is prefixed, an Epistle Dedicatory in verse, 2nd edition, corrected and enlarged, London: W. Frederick, W Johnston, 1770, 5 engraved plates, several woodcuts to text, final leaf of advertisements, contemporary calf, neatly rebacked, morocco title label to spine, 8vo, together with: Arbuthnot (James) , Natural History of those Fishes that are indigenous to, or occasionally frequent the Coasts of Buchan; with an account of the most useful Fucii produced upon these shores, Aberdeen: A. Brown & Co., 1815, half-title, contemporary red half morocco, head & foot of spine and corners worn, slim 8vo, Darwin (Erasmus) , The Botanic Garden; A Poem, in two parts. Part I. Containing the Economy of Vegetation. Part II. The Loves of the Plants. With Philosophical Notes, 2 volumes, Dublin: Printed by J. Moore, 1793, half-titles, edges untrimmed, original limp boards, spines worn with loss, 8vo, Land Improvement , The First Report from the Select Committee of the ... House of Commons, appointed to take into consideration the means of promoting the cultivation and improvement of the Waste, Uninclosed and Unproductive Lands of this Kingdom, London: John Stockdale, 1st January, 1796, 62pp., cropped signature to upper blank margin of title, some toning to first & last leaves, modern cloth-backed marbled boards, slim 8vo, Spence (William) , Agriculture the Source of the Wealth of Britain; A Reply to the Objections urged by Mr. Mill, The Edinburgh Reviewers, and others, against the Doctrines of the Pamphlet, Entitled "Britain Independent of Commerce." With Remarks on the criticism of the monthly reviewers upon that work, London: T. Cadell & W. Davies, 1808, [2], 110pp., initial 22 leaves heavily torn to blank margins, dust-soiling, modern wrappers, 8vo, contained in slipcase, Pattu (Jacques-Pierre-Guillaume) , Description d'une vis d'Archime?de a? double effet, destine?e aux irrigations et aux e?puisemens, lue a? la Socie?te? d'Agriculture et de Commerce de la ville de Caen, le 19 janvier 1815, Caen: F. Poisson, 1815, [2],21,[1]pp., half-title, folding engraved plate (strengthened at foot and gutter margin), light scattered spotting, 20th century pastepaper boards, slim 8vo Maitland (John) , Observations on the impolicy of permitting the exportation of British Wool, and of preventing the free importation of Foreign Wool, London: William Phillips, 1818, [12],60pp., modern cloth, slim 8vo, and 3 others (Qty: 11)NOTESHarte - Williams II, 42. Goldsmiths 10629. Higgs 4870. Kress 6736. Perkins 758. Rothamsted p.68. See also Fussell, More old English Farming Books , 1950, pp.45-46. First published anonymously in 1764, Harte's Husbandry won considerable contemporary approval. "In 1764 Harte published a volume of Essays on Husbandry , of which a second edition ... appeared in 1770 - a charming and valuable work. Johnson confessed that "his [Harte's] Husbandry is good", and Chesterfield praised its style [ Letters, iv. 214]. Arthur Young, in his Six Weeks Tour through the Southern Counties, published in 1768, describes a visit to "my very excellent friend", Harte, at Bath. "His conversation", Young says, "on the subject of husbandry is as full of experience and as truly solid as his genuine and native humour, extensive knowledge of mankind, and admirable philanthropy, and pleasing and instructive"." [DNB]

Sharrock (Robert). The History of the Propagation and Improvement of Vegetables by the Concurrence of Art and Nature, 2nd edition ('much enlarged'), Oxford: by W. Hall, for Ric. Davis, 1672, folding engraved plate, folding leaf of descriptive letterpress, bound without the 3 leaves of advertisements, front free endpaper near-detached, contemporary sprinkled calf, expertly rebacked to style, 8vo (15.8 x 9.4 cm), together with: Parsons (James), Philosophical Observations on the Analogy between the Propagation of Animals and that of Vegetables, 1st edition, London: for C. Davis, 1752, engraved folding plate, toning, marginal browning to title-page and index-leaves, faint ink-stamps of the Birmingham Medical Institute to title-page and plate, contemporary ownership inscription to title-page, modern quarter calf, 8vo (19 x 11.7 cm) (Qty: 2)NOTESProvenance (Sharrock): 1) Ownership inscription 'Will Forsyth' to front pastedown and 'W F 1795' to imprimatur page, most likely the noted Scottish horticulturalist William Forsyth (1737-1804). 2) David Bellamy (1933-2019), naturalist and environmentalist (bookplate with ownership inscription to front pastedown). ESTC R10736 & T148535; Freeman 2930 (Parsons); Henrey 341 (Sharrock); Wing S3011 (Sharrock).

Stonham (Charles). The Birds of the British Islands. Illustrated by Lilian M. Medland, 5 volumes, 1st edition, London: E. Grant Richards, 1906-11, half-titles, title-pages printed in red and black, 2 folding maps, double-page key plate, 318 gravure plates all with captioned tissue-guards (plate 298, Razorbill, replaced with a duplicate of plate 303, Puffin), provisional list of subscribers to rear of volume 3 (unpaginated), text-leaves toned, occasional spotting, marginal tide-mark to plates 261-6 and relevant text, all edges untrimmed, contemporary half calf by W. H. Smith, spines ruled and lettered in gilt, a few scuffs and marks, volume 4 front board with section of wear to cloth, volume 5 front joint partially split, 4to (32.6 x 24.4 cm) (Qty: 5)NOTESTHE DAVID WILSON LIBRARY OF NATURAL HISTORY PART I Mullens & Swann p. 566; Nissen IVB 898; Wood p. 584; Zimmer pp. 604-5. 'A very fine bird painter, [Medland] was the daughter of a wealthy London naturalist and big-game hunter' (Olsen, Feather and Brush: Three Centuries of Australian Bird Art , p. 88). She later emigrated to Australia, where she collaborated with ornithologist Gregory M. Mathews.

[Worlidge, John]. Systema Horti-culturae : or, the Art of Gardening ... by J. W. Gent., 2nd edition, London: Tho. Dring, 1683, 3 engraved plates, without additional engraved title, occasional underscoring and ink markings, slight worming to fore-edge blank margins at head, toning & dust-soiling, few marks, margins frayed, final advert leaf repaired to fore-edge, recent endpapers, contemporary sheep, rebacked, repairs to board edges & corners, 8vo, together with: Markham (Gervase) , The Inrichment of the Weald of Kent. Or, a Direction to the Husband-man, for the true Ordering, Manuring, and Inriching of all the Grounds within the Wealds of Kent, and Sussex; and may generally serve for all the Grounds in England of that nature, London: Printed by W. Wilson, for E. Brewster and George Sawbridge, 1653, [4], 20pp., light browning and spotting, modern half calf, slim 4to, Cox (Nicholas) , The Gentleman's Recreation, in Four Parts. Viz. Hunting, Hawking, Fowling, Fishing, 6th edition, London: Printed for N. C. and sold by J. Wilcox, 1721, engraved frontispiece (strengthened to gutter margin, 4 engraved folding plates (one with repaired closed tear), leaf 2C3 with closed tear, light toning and spotting, modern blank leaves, contemporary calf, neatly rebacked, 8vo, Miller (Philip) , The Gardeners Kalendar..., 10th edition, London: Charles Rivington, for John & James Rivington, 1754, engraved frontispiece, some toning, dust-soiling and light spotting, endpapers renewed, contemporary calf, rebacked, 8vo, and 3 others (Qty: 7)NOTESTHE DAVID WILSON LIBRARY OF NATURAL HISTORY PART I

Bickham (George). The Universal Penman; or, the Art of Writing, made Useful to the Gentleman and Scholar, as well as the Man of Business, London: H. Overton, 1743, 215 engraved plates (frontispiece lacking), some with manuscript numbers to upper outer corner, final leaf detached, few worm holes to inner margins of leaves at front of volume, heavy worming and worm holes at rear of volume affecting some text, first & last few leaves with some tears mostly to margins and leaves creased, occasional spotting and dust-soiling, lacking free endpapers, contemporary calf, boards detached, worn, folio (Qty: 1)NOTESProvenance: From the Estate of Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Sold with all faults, not subject to return.

Earlom (Richard; Turner, Charles & Dunkerton, Robert). Fifteen Splendid Portraits of Royal Personages, London: Printed by J. M'Creedy, 1816, 15 mezzotint portrait plates, including Elizabeth I, Oliver Cromwell, Charles II, Emperor Maximillian, and William of Orange (Frederick, King of Bohemia plate with repaired long closed tear), top edge gilt, contemporary dark green straight grain morocco, gilt decorated spine and decorative border to boards, large folio, together with: Haghe (Louis) , Sketches in Belgium and Germany, London: Hodgson & Graves, 1840, tinted lithograph title, dedication and 25 tinted lithograph plates (one detached), some spotting, contemporary quarter morocco gilt, extremities slightly rubbed, folio, Harding (James Duffield) , The Principles and Practice of Art, London: Chapman & Hall, 1845, half-title, 24 engraved plates (including frontispiece), illustrations to text, scattered spotting, inscription to front free blank, all edges gilt, contemporary dark green morocco, gilt decorated spine, Oxford Middle Class Examination West Riding Prize 1860 gilt embossed device to upper cover, joints rubbed, folio, and others including two copies of The Works of William Hogarth, 2 volumes, London: Jones & Co, 1833 (Qty: 13)

Landi (Alfonso di Pompilio di Lattanzio di Girol[amo], fl.1655). ' Racconto di pitture, sculture, e architetture eccellenti, che si trovano nel duomo di Siena, con i loro autori, 1655' [manuscript caption-title], Italian manuscript in brown ink on laid paper, 182 + [2] pp., later manuscript index to final 2 pp., deckle edges, early limp paper boards, rebacked at a later date with cream cloth, manuscript spine-title 'Manoscritto Siena', 4to (20.5 x 14.5 cm) (Qty: 1)NOTESProvenance: 1) Thomas Ashby (1876-1931), British archaeologist in Italy and director of the British School at Rome (bookplate; manuscript aquisition note 'Gozzini sale, Jan 1921, 56.10'). 2) Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Two other manuscript copies traced in institutions: Morgan Library, New York (MA 299), and the Biblioteca Communale, Siena (MSC.II.30). Rare contemporary manuscript copy of this early and important source for the history of Sienese art. Circulated in manuscript form only amongst a very small number of antiquaries and cognoscenti, the work was not published in print form until a modern edition appeared in 1992 with the title "Racconto" del Duomo di Siena (Florence: Edam). It is mentioned in positive terms by the 18th-century author and historian Guglielmo della Valle (c.1740-1794) in his Lettere sanesi ... sopra le belle arti (1782-6, volume 2, pp. 32-3): 'Lo stile è de' più purgati del secolo: le descrizioni sono esatte; i giudizi fondati sopra monumenti per lo più incontrastabili'. Alfonso Landi is believed to have been born around 1585. The Racconto, or narrative of the famous Cathedral of Siena describes its decoration by some of the most important artists of the Italian Renaissance - including Nicola and Giovanni Pisano, Donatello, Pinturicchio (the remarkable series of frescoes adorning the Piccolomini Library), Lorenzo Ghiberti, Beccafumi and Michelangelo.

Ottley (William Young). Engravings of the Most Noble the Marquis of Stafford's Collection of Pictures, in London..., 4 volumes in 2 , London: Printed by Bensley & Son for Longman, Hurst, et al., 1818, 126 engraved plates including frontispiece to first volume and 13 engraved plans, occasional light browning mainly to text and some spotting, armorial bookplates of Adolph H.C. Wenger & Y.G. Lloyd-Greame to upper pastedowns, all edges gilt, contemporary gilt decorated dark green straight-grain morocco, extremities rubbed and light wear, head of spine to first volume slightly torn, folio, together with: London & Middlesex Archaeological Society , A Catalogue of the Antiquities and Works of Art exhibited at Ironmongers' Hall, London, in the Month of May, 1861, 2 volumes, London, 1863, numerous wood engraved illustrations, few lithograph plates (some folding), light spotting, top edge gilt, contemporary red half morocco, gilt decorated spine, minor wear, folio, Armengaud (J.G.D.) , Les Galeries Publiques de l'Europe, Rome, Paris: J. Claye, 1856, numerous wood engraved illustrations, all edges gilt, contemporary quarter red morocco, gilt decorated spine and blocked device to boards, folio (Qty: 5)

Waring (John Burnley). Masterpieces of Industrial Art and Sculpture at the International Exhibition, 1862, 3 volumes, London: Day & Son, 1863, additional chromolithograph title to each, 301 chromolithograph plates, some offsetting to tissue guards, light toning, ink stamp to verso of letterpress titles, library blind stamp to plates, titles and some leaves of text, armorial bookplate of George Thomas Robinson to upper pastedowns, all edges gilt, contemporary burgundy morocco by Palmer & Howe of Manchester, with elaborate gilt decoration, rubbed and worn, joints of volume 1 splitting at head, folio (Qty: 3)

Hope (William). A New, Short, and Easy Method of Fencing: Or, the Art of the Broad and Small-Sword Rectified and Compendiz'd, 1st edition, Edinburgh: Printed by James Watson, 1707, title with early ownership signature John Wood to upper blank margin, errata leaf present, between pages 232 & 233 a folding leaf printed on one side with rules scheme of laws for the management of a School of Arms (with closed tear), without folding plate (photocopy loosely inserted), bookplate of Mark Dineley to upper pastedown, contemporary speckled calf, neatly rebacked preserving original spine, corners repaired, 4to (Qty: 1)NOTESThimm p.139; Pardoel 1281. Sir William Hope (1660-1724) wrote a number of books relating to fencing. He suggested that the French Small-Sword system which he had originally trained in was lacking, and that the true Art of Defence lay in the English back-sword method.

Hope (Sir William). A Vindication of the True Art of Self-Defence with a Proposal to the Honourable Members of Parliament for Erecting a Court of Honour in Great-Britain. Recommended to all Gentlemen, but particularly to the Soldiery. To which is Annexed, a Short, but very useful Memorial for Sword-Men, 1st edition, Edinburgh: Printed by William Brown and Company, 1724, engraved frontispiece and folding engraved plate (short closed tear to inner blank margin), manuscript number at head of title, short closed tear to last leaf of dedication, fore-edge blank margin of C1 with paper fault tear (not affecting text), slight toning and spotting, armorial bookplate of Gordon family of Gordon Castle to upper pastedown and also with Gordon Castle shelf number label, contemporary calf, lacking title label to spine, joints cracked, slight wear, 8vo (Qty: 1)NOTESThimm p.139. This volume was previously sold at Sotheby's 29 November 1974, for £26 to F. Edwards and acquired by the Paul family. Sir William Hope (1660-1724) wrote a number of books relating to fencing. His work suggested that the French Small-Sword system which he had originally trained in was lacking, and that the true Art of Defence lay in the English back-sword method.

Olivier (Jean, Fencing Master). Fencing Familiarized: or, a New Treatise in the Art of Sword Play. Illustrated by Elegant Engravings (L'Art des Armes Simplifie?), 1st edition, London: J. Bell, [1771], xlix, 196, [1]pp., titles and text in English & French, 8 folding engraved plates, title with early signature W. Reeve to upper blank margin, advert leaf to verso of final leaf with imprint dated 1771, occasional light offsetting and minor spotting, armorial bookplate of William Reeve, Leadenham House, Lincolnshire to upper pastedown, contemporary sheep, neatly rebacked preserving original gilt decorated spine with red morocco title label, 8vo (Qty: 1)NOTESThimm p.211; Vigeant p. 97; Pardoel 1945; Castle, Schools and masters of fence, p. XLIX and p. 218. The first edition of Olivier's Fencing familiarized, with the text in English and French juxtaposed. "The work is very sound, and thoroughly justifies its French title, as it contains a simplified system, shorn of all unnecessary and obsolete details." (Thimm).

Coustard de Massi (Anne Pierre). The History of Duelling. In two parts. Containing the Origin, Progress, Revolutions, and Present State of Duelling in France and England: including many Curious Historical Anecdotes, 1st edition, London: E. & C. Dilly, J. Walter and J. Robson, 1770, half-title, small hole to upper outer blank corner of final leaf, later endpapers, contemporary sheep, old reback, library number in white paint to lower panel of spine, upper joint split and board loosening, board corners worn & showing, covers rubbed and scuffed, small 8vo, together with: Hope (Sir William). A Vindication of the True Art of Self-Defence with a Proposal to the Honourable Members of Parliament for Erecting a Court of Honour in Great-Britain. Recommended to all Gentlemen, but particularly to the Soldiery. To which is Annexed, a Short, but very useful Memorial for Sword-Men, 1st edition, Edinburgh: Printed by William Brown and Company, 1724, engraved frontispiece offset to title, without folding engraved plate at rear (provided in photocopy facsimile), lower blank margin of title torn, upper blank margins throughout volume torn and dented, armorial bookplate of Edmondstoune of Newton to upper pastedown, contemporary calf, lower board damaged at head with loss, worn, 8vo, Rolando (Le Sieur Guzman ) , The Modern Art of Fencing agreeably to the practice of the most eminent masters in Europe. By Le Sieur Guzman Rolando, of the Academie des Armes. Carefully revised and augmented with a technical glossary, etc. by J.S. Forsyth, London: Samuel Leigh, 1822, half-title, 4 hand-coloured engraved plates only (of 23?), bound without publisher's book list at rear, lacking rear free marbled endpaper, contemporary gilt decorated black calf, 12mo in 6s (Qty: 3)NOTESThimm p.186, p.139 & p.244.

Danet (Guillaume). L'Art des Armes, ou? l'on donne l'application de la the?orie a? la pratique de cet Art, avec les principes me?thodiques adopte?s dans nos Ecoles d'Armes, 2 volumes, [3rd edition], Paris: Belin an 6, [1797 or 98], half-titles present, engraved portrait frontispiece to volume 1 and allegorical frontispiece to volume 2, and 44 engraved folding plates (of 45, lacking plate 23), initial leaves in volume 1 with dampstain at foot (title with short closed tear at foot), some spotting and few plates in volume 1 with old brown ink splashes, some light dust-soiling, contemporary quarter sheep, terracotta red title labels to spines, slight splitting at foot of upper joints, board corners worn & showing, 8vo (Qty: 2)NOTESThimm p.75. A reissue of the original edition of 1766, 1767, with different title-pages. The second volume contains “Re?futation des Observations critiques de M*** Maitre d'Armes ... contre le traite? de l'Art des armes,” a reply to the anonymously-published work of N. B. Texier La Boe?ssie?re.

Roland (George). A Treatise on the Theory and Practice of the Art of Fencing ... and Continued by Easy and Progressive Lessons, from the Simplest Position to the most Complicated Movements, 1st edition , Edinburgh: Archd. Constable & Co., 1823, half-title, 12 lithograph plates, occasional spotting and toning, bookplate of William E. Stuart and bookseller's label of Frank Murray of Derby to upper pastedown, contemporary calf, gilt decorated spine with black calf title label, blind embossed decoration & gilt ruled border to boards, extremities a little rubbed, 8vo, together with: Ibid. , An Introductory Course of Fencing, 2nd edition, Edinburgh: Published by the Author, [1830?], 5 lithograph plates, light toning and minor spotting, original cloth gilt, spine worn and deficient, extremities worn, slim 8vo (Qty: 2)NOTESThimm p.243; Pardoel 2217. The first edition of this treatise by George Roland (fl.1809-1862), fencing master at the Royal Academy of Edinburgh and son of Joseph Roland, fencing master at the Royal Military Academy of Woolwich. A reissue, printed from the same setting of type, was published in 1824.

Chapman (George). Foil Practice; with a Review of the Art of Fencing, according to the theories of La Boe?ssie?re, Hamon, Gomard, and Grisier. For the use of Military Classes, Instructors in the Army, and Others, London: W. Clowes & Sons, 1861, half-title, 4 lithograph plates (one folding and frayed to fore-edge margin), bound with Ibid. , Notes and Observations on the Art of Fencing. A Sequel to 'Foil Practice.', Part 1, No. 1 [all published], London: Clowes, Charing Cross, 1864, 2 lithograph plates, occasional light spotting, front free endpaper inscribed 'To Colonel Gordon Maynard Ives with the Author's Respects, Jan 7 1878', upper pastedown with armorial bookplate of Colonel Gordon-Ives, C.B., contemporary red half morocco, joints cracked and weak, worn, cup ring mark to upper board, slim 8vo (Qty: 1)NOTESThimm p.56. Colonel Gordon Maynard Gordon-Ives (1837-1907) was born in London, the son of Jeremiah Robert Ives and Emma Maynard. He married Amy Violet B. Pullin in 1880 and later married Millicent Grace Villiers in 1897, both at St. George Hanover Square, London. He gained the rank of Colonel in the Coldstream Guards.

Roland (George). A Treatise on the Theory and Practice of the Art of Fencing ... and continued by Easy and Progressive Lessons, from the Simplest Position to the most Complicated Movements, 1st edition, Edinburgh: Archd. Constable & Co., London: Hurst, Robinson, & Co., and sold by the Author at his Fencing Rooms, Royal Manege, Nicholson Street, Edinburgh, 1823, half-title inscribed to verso 'To Lockhart Esqr. with the acknowledgements of the Author', 12 lithograph plates, some offsetting to plates & text, endpapers renewed, contemporary calf, rebacked, black leather title label to spine, board corners worn & showing, 8vo (Qty: 1)NOTESThimm p.243; Pardoel 2217. The first edition of this treatise by George Roland (fl.1809-1862), fencing master at the Royal Academy of Edinburgh and son of Joseph Roland, fencing master at the Royal Military Academy of Woolwich. A reissue, printed from the same setting of type, was published in 1824.

Grego (Joseph). Angelo's Pic Nic ... with a Prefactory note on the Angelo Family by Rev. Charles Swynnerton, London: Kegan Paul, Trench, Trübner & Co. Ltd., 1905, hand-coloured etched frontispiece and 26 plates (some coloured), scattered spotting, top edge gilt, remainder untrimmed, contemporary brown half pigskin, lacking spine, worn, large 8vo (limited edition 20/50 copies, printed on hand-made paper), together with: Powell (George H.) , Duelling Stories of the Sixteenth Century, 1904, monochrome frontispiece and plates, original cloth gilt, extremities rubbed, 8vo, Cass (Eleanor Baldwin) , The Book of Fencing, 1st edition, Boston: Lothrop, Lee & Shepard Co., 1930, monochrome portrait frontispiece, plates and illustrations, original cloth gilt, extremities rubbed, in torn dust-jacket, 4to, and other fencing reference including, Fencing, by H.A. Colmore Dunn, 1924; Secrets of the Sword, translated from the original French of Baron de Bazancourt by C.F. Clay, 1900; The History and Art of Personal Combat, by Arthur Wise, 1971; Schools and Masters of Fence from the Middle Ages to the Eighteenth Century, by Egerton Castle, 3rd edition, 1969; The English Master of Arms from the Twelfth to the Twentieth Century, by J.D. Aylward, 1956; Modern British Fencing, A History of the Amateur Fencing Association 1964-1981, by Edmund Gray, 1984, etc., mostly original cloth in dust-jackets (Qty: 27)

Florian (Jean Pierre Claris de). The Adventures of Numa Pompilius, Second King of Rome.Translated from the French of M. De Florian, 4 volumes, Brussels: Printed by B. Le Francq, Book-seller, 1790, 13 engraved plates (including frontispiece to volume 1), 20th century bookplate of Ernest Thomas to upper pastedowns, contemporary cats paw sheep, gilt decorated spines with contrasting labels, some insect damage & wear, 12mo, together with: Gay (John) , Trivia: or, the Art of Walking the Streets of London, London: Printed for Bernard Lintott, at the Cross Keys between the Temple Gates in Fleetstreet, [1716], [4],80,[12]pp., some toning, top edge gilt, 20th century navy half morocco, slim 8vo, Smith (Adam) , An Inquiry into the Nature and Causes of the Wealth of Nations, 4 volumes, London: Charles Knight, 1840, light toning, contemporary half morocco, rubbed, 12mo in 6s, and other miscellaneous antiquarian (Qty: 18)

[Glasse, Hannah]. The Art of Cookery, Made Plain and Easy; Which far exceeds any Thing of the Kind ever yet published ..., by a Lady, 5th edition with additions, London: printed and sold at Mrs. Ashburn's China-Shop ..., 1755, p.1 with ink manuscript authorial signature, title toned and slightly edge-chipped, occasional spotting, p.201 with long tear (previously repaired), lacking all before title, front pastedown with book ticket, contemporary calf, worn, front cover detached, lacking rear cover, 8vo, together with: Kettilby (Mary) , A Collection of above Three Hundred Receipts in Cookery, Physick, and Surgery; for the use of all good wives, tender mothers, and careful nurses, to which is added a Second Part, containing a great number of excellent receipts, for preserving and conserving of sweet-meats, &c., by Several Hands, 2 parts in one, 5th edition & 4th edition, London: printed for the Executrix of Mary Kettilby, 1734, title with early ink manuscript signiture, woodcut head- and tail-pieces and decorative initials, generally spotted, mid-19th century half sheep, rubbed with some wear to extremities, 8vo, Hunter (Alexander) , Culina Famulatrix Medicinae: or, Receipts in Modern Cookery; with a medical commentry, written by Ignotus, and revised by A. Hunter, 5th edition, considerably enlarged, York: printed by T. Wilson and R. Spence, 1807, engraved frontispiece, offset to title and spotted, with small dampstain to upper left corner, scarce spots or marks, armorial bookplate of Robert Washington Oates, near contemporary deep reddish-brown mottled calf gilt, extremities rubbed, front cover dampstained with some surface loss, covers and spine stamped and tooled in blind and gilt, 8vo, Nicholson (William) , The First Principles of Chemistry, 3rd edition revised, London: printed for G. G. and J. Robinson, 1796, folding engraved frontispiece (creased and dampstained), half-title, occasional pale dampstaining to upper margins, cover nearly detached at rear hinge, untrimmed in original vellum-backed boards, worn, rear cover with early ink manuscript title and author, thick 8vo, and 5 others including The Cricket Field: or, The History and the Science of Cricket, by [James Pycroft], 1st edition, 1851 (Qty: 9)NOTESFirst three items: Bitting pp.186-189 (for other editions), 258, 238; Cagle 699, 792, 772; Maclean pp.59, 79-82, N/A.

Three pieces of Contemporary wall art in the form of ladies shopping with a fancy bullseye mirror. This lot is not available for in-house P&P, please contact the office for more information.

A contemporary bronzed metal Art Deco-style figure modelled as a nude lady, impressed signature 'J. Prince' to base, on turned circular hardstone socle base, height 95cm.

[Ainsworth (Henry)], "Zachary Coke". The art of logick; or The entire body of logick in English. Unfolding to the meanest capacity the way to dispute well, and to refute all fallacies whatsoever, first edition, woodcut head-pieces and decorative initials, tables, lacking vertical half-title and final blank, contemporary ink marginalia and a full-page of shorthand to rear pastedown, edges of title browned, water-stained at lower corners, a few ink stains, lightly browned, new endpapers, contemporary calf, rebacked, corners worn, little worming, rubbed, [Wing A804B], 8vo, Printed by Robert White, for George Calvert, 1654.

Mauritz Drougge (Norwegian, 1874-1949)Black Grouse at the lek; Ptarmigan in autumn, a pair both signed 'Drougge' (lower right)oil on canvaseach 80.5 x 100.5cm (31 11/16 x 39 9/16in). (2)Footnotes:Mauritz Drougge was an animal, landscape and portrait painter born in Arendal on 5 July 1874. He is best known for the decoration of the inside of the Forestry Pavilion at the Jubilee Exhibition which took place to mark the centennial of the 1814 Constitution at Kristiana from May to October 1914. The location was in the grounds of Frogner Manor and the exhibition was visited by over 1.5 million people over six months.It is highly likely that Drougge would have been familiar with his contemporary, Bruno Liljefors, whose pioneering work embodied the change in wildlife art as it emerged from a scientific approach to a more realistic depiction of birds and animals in their natural environment. Drougge also combines Impressionistic brushstrokes and carefully observed realism to produce thoroughly fresh compositions that celebrate the natural behaviour of the birds. In the present lot, we see black grouse displaying at the lek in early spring, and the ptarmigan are shown in the high mountains in the late autumn; their plumage has begun to reveal traces of white which indicates the onset of winter.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

Richard Redgrave (British, 1804-1888)A helping hand signed and dated 'Richd Redgrave 1863' (lower right)oil on canvas 71.1 x 110.5cm (28 x 43 1/2in).Footnotes:Exhibited London, Leicester Galleries, 1956, The Victorian Scene, no. 117. Born in Pimlico to a large family of moderate means, Richard Redgrave began exhibiting at the Royal Academy in 1825, and enrolled in the schools the following year. Bridging the financial constraints of these student years with private tuitions, Redgrave made his breakthrough on the art scene eleven years later, with Gulliver on the Farmer's Table. Elected ARA in 1840 and RA in1851, Redgrave combined a busy artistic life with a number of official duties. He was first keeper of paintings at the South Kensington Museum; he took over from William Dyce on the national art education project and was Inspector of the Queen's pictures. Having established his reputation, Redgrave turned his attention to contemporary scenes of the Victorian world. His genuine concern for the poor, and in particular the plight of women and children, became the subject of moralising genre paintings (The Seamstress; The Poor Teacher; The Outcast; The Emigrant's Last Sight of Home The Poor Children). From this point of view, the present painting of Figures in a Woodland Scene may appear as a parenthesis in artist's oeuvre. However, the pre-eminent role of the lush landscape provides the artist the opportunity to display his talent as admirer and (re-creator) of Nature. The delicate hues of leafy greens lifted with individual strokes of the brush, set off the party of three against a background of true artistry. The delicacy of the overall image, from the depiction of the landscape to the weightlessness of the figures, recalls the fêtes-galantes pieces by the French eighteenth-century artist Jean-Antoine Watteau (1684-1721). Indeed, the genre had been introduced to England over a century earlier; Philip Mercier (ca.1689-1760) had settled in London and found a growing demand for this form of painting. The gallant attitudes of these performing characters are set against the undulating movements of light and shadow in the surrounding countryside in a most creative moment of landscape genre painting.For further information on this lot please visit Bonhams.com

Kazuko Inoue (B. 1946, Pennsylvania, Japan) Oil on canvas abstract painting. Provenance: New York/Sarasota Florida collection, acquired directly from artist. Painting comes with original letter from artist to purchaser who was a friend of the artist. Born in Japan in 1946, Kazuko Inoue moved to the United States in the 1960s, and received her BFA and MFA from Michigan State University. Her work has been shown in solo and group exhibitions throughout the Northeast and Midwest, and is included in public and corporate collections such as the Aldrich Contemporary Art Museum, the Newark Museum, the Mobil Oil Corporation and Bank of America. Inoue lives and works in Pennsylvania. Combining early abstraction's focus on spirituality with a Minimalist grid structure, Inoue creates canvases that are lyrical, austere, and subtle, yet compelling. Channeling a plethora of inspirations from Kazimir Malevich and Vasily Kandinsky to Henri Matisse and Fra Angelico, Inoue's tactics aptly reflect her sentiment that "good painters understand the importance of clarity of composition and color." At first, the straightforward planar explorations seem simple, but upon closer inspection reveal themselves as methodical palimpsests of color and materiality. Inoue's works feature varied colors and tones that play off of each other, encouraging the eye to bounce around the canvas, seeking nuanced or stark interplays. Each square is achieved by building up multiple layers of different acrylic paints that are resolved into one single shade on the surface, simultaneously providing luminosity, depth and dimension. The squares are articulated at their edges by the recesses run between them like thin canals defining the grid. The result of Inoue's endeavor is a checkerboard synthesis of tones, shades and colors. Each painting chronicles a private event, a distinct mood, a complex emotion or a subtle feeling. Size: 50 x 50 in.

CONTEMPORARY ART DECO DESIGN SILK CARPET, 300cm x 250cm, geometric sky blue field.

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

CONTEMPORARY ART DECO DESIGN SILK CARPET, 400cm x 300cm, geometric silver field.

A 1930s Movado Art Deco style wrist watch, having a 10 ligne 15 jewel movement in stainless steel case with screw-on back, fitted with a contemporary white metal expanding bracelet strap, the latter stamped Sterling Silver, 29 mm, (running)

Emmanuel Adiamah (Ghanaian, born 1957)Still Hoping signed and dated 'Adiamah N, 2000' (lower right); signed, inscribed & dated 'Adiamah / Still Hoping / 2000' (verso)oil and collage on canvas88 x 125cm (34 5/8 x 49 3/16in).unframed.Footnotes:Literature:Adeyemi, E., 'Contemporary Art in Nigeria and Ghana', pub Basel, 2005, illust page 231.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Kolade Oshinowo (Nigerian, born 1948)Our Future signed and dated 'Oshinowo 97' (lowere right)oil on canvas88 x 102cm (34 5/8 x 40 3/16in).Footnotes:Literature:Adeyemi, E., 'Contemporary Art in Nigeria and Ghana', pub Basel, 2005, illust page 210.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Muraina Oyelami (Nigerian, born 1940)Loneliness mixed media on board121 x 60cm (47 5/8 x 23 5/8in).Footnotes:Literature:Adeyemi, E., 'Contemporary Art in Nigeria and Ghana', pub Basel, 2005, illust page 216.The above work was painted in 2000.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com