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♦SELLWOOD (David), An Introduction to the Coinage of Parthia (First Edition, Spink & Son, London, 1971); hard back with dust cover; 8 plates and numerous drawings throughoutDust cover with edge tears, otherwise in very good condition throughout

A quantity of mainly 1950's and 1960's puffin and Penguin classic novels and other books together with 1960's and 1970's magazines and Percy Westerman novels, a signed copy of How I Photograph People by Tom Hustler dated 1986, a singed first edition of Finding my Voice by Nadiya HussainLocation:

A quantity of mainly hardback novels to include Joseph Conrad political novels, one with a signed addition by Eloise Knapp Hay together with a singed first edition Mrs G.B.S by Janet Dunbar and books on JapanLocation: RWF

* World War II Posters. A collection of WWII posters including 'Careless Talk Costs Lives', circa 1941, 13 colour lithographs promoting the importance of not sharing information, printed for H.M Stationery Office, titles include: Keep mum - she's not so dumb!, Keep it under your hat!, along with 'He's in the Silent Service - are you?', 'Danger Enemy ears are listening', '"Spot at Sight" Chart No 1 & 2 Enemy Uniforms', sizes from 38 x 25.2 cm (15 x 10 ins) to 76 x 50.4 cm (29 7/8 x 19 7/8 ins), together with two maps: North-West Germany, 2nd edition, The British Army of the Rhine and a map of Paris produced by The War Office, 1942, first editionQTY: (1 folder)

Halcyon Days limited edition enamelled bonbonniere, Johan Sebastian Bach 1685 0 1750, no.186, boxed. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Royal Crown Derby limited edition, first quality harbour seal, 1720/4500, with gold stopper, L: 15 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Royal Crown Derby limited edition first quality garden snail, 2807/4500, with gold stopper, L: 14 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Royal Crown Derby first quality limited edition pacific angel fish, 1048/2500, with gold stopper, H: 12 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Two Gustav Klimt limited edition Ardleigh Elliott musical trinket boxes, largest D: 10 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Anita Harris limited edition Irish setter, no 3/10, signed in gold, H: 14 cm, no cracks or chips. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Boxed Lilliput Lane Limited Edition no 992 Out Of The Storm with deeds, no chips or cracks, 40 x 20 cm. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Moorcroft limited edition red squirrel plate, D: 21 cm, 251/500 1995, no cracks or chips. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Set of four limited edition The Beatles head character jugs, each H: 13 cm, no cracks or chips. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Bradford Exchange limited edition John Wayne, American Legend figural group, 2838/5000, H: 35 cm. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

DYKES W.R., Notes on Tulip Species, edit E. Katherine Dykes, into by Sir A. Daniel Hall, pub Herbert Jenkins, London, first edition, 1930, folio, green cloth with D/W worn and stained; (1)

Fleming,Ian,'Octopussy and The Living Daylights', First Edition, 1966, published by Jonathan Cape. Original dust jacket.(B.P. 21% + VAT)

Thomas (S) and Thomas (D), JOYCE OF WHITCHURCH, CLOCKMAKERS 1690-1965, a presentation first edition, 3/4 burgundy leather, marbled boards, inscribed and signed by the authors, Inbeat Publications, Chester 2013 CONDITION REPORT:The front board shows a dirt mark to the leather approximately 4.5cm below the top edge.  The front edge of the block shows some marking.  Shelf wear is minimal. 

Humphreys (H.N.), BRITISH MOTHS AND THEIR TRANSFORMATIONS, 2 vols, first edition, red 3/4 leather, marbled boards, marbled endpapers, colour plates throughout, William S. Orr & Co, London 1849 (2) (at fault)

Lord Tollemache, CROQUET, first edition, green cloth boards, DJ, gilt embossed title and decoration to cover, photographic plates throughout, foldout chart to rear pocket, Stanley Paul & Co, London 1914

Full title: A bottle of Black Bowmore 1964, distilled and bottled by Morrison's Bowmore Distillery, ed. 1897/2000, dated (19)93Description: 70 cl Bottled in 1993, the first edition. Distilled and bottled by Morrison's Bowmore Distillery. Bottle number 1897 of 2000. In wood presentation case. Good labelling. Wax seal quite intact. Level: under shoulder. Single malt, 50% vol. Provenance: - Private collection, Belgium. Acquired by the present owner from Bib Minnekeer in the nineties. Minnekeer is an icon in the Belgian whiskey world. He has been passionate about whiskey for 50 years, having tasted 15,000 single malt whiskeys and he is the founder of the well-known whiskey club 'The Glengarry'. As the icing on the cake, he achieved the highest possible award as a whiskey connoisseur in Scotland: 'Keeper Of The Quaich'. Ref.: - Bottle number 1520/2000 sold at Bonhams, Edinburgh, Dec. 12, 2018, lot 2 (USD 25.998, link). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A Collector's Edition Vogue Nederland, First Issue 2012.In original Vogue box with wrapping paper.

A Collector's Edition Vogue Nederland, First Issue 2012.In original Vogue box with wrapping paper.

Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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

Henry Moore O.M., C.H. (British, 1898-1986)Reclining Figure No. 6 bronze with a brown patina on a stone base22 cm. (8 5/8 in.) long (excluding the base)Conceived in 1954 and cast in bronze in 1956, in an edition of 12 plus 1 artist's proofFootnotes:ProvenanceWith Marlborough Fine Art, London, circa late 1950s, where acquired byPrivate Collection, U.S.A.Private Collection, U.K.LiteratureIonel Jianou, Henry Moore, Arted, Paris, 1968, p.79, cat.no.346Robert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, n.p., cat.no.487 (ill.b&w, another cast)Alan Bowness (ed.), Henry Moore Volume 2: Complete Sculpture 1949-54, Lund Humphries, London, 1986, p.45, cat.no.337 (ill.b&w, another cast)John Hedgecoe, Henry Moore, A Monumental Vision, Collins & Brown, London, 1998, p.216, cat.no.308 (col.ill., another cast)Reclining Figure No.6 represents the culmination of a focused examination by Moore of one of his most fundamental themes, the reclining figure. This examination is displayed across a concise group of maquette-scaled figures, numbered 1 to 6 and executed between 1952 and 1954. Moore utilises a variety of treatments across this small group, and together they display the vast breadth of Moore's concern with this motif.Some of the group nod towards classicism, rendered naturalistically and clothed in drapery with precisely described details such as hands, faces and hair. Others recall primitive and ancient carving, with symbolist features that draw upon the Mayan chacmools which had many years prior first ignited Moore's fascination with the reclining form. Some, including Reclining Figure No.6, are abstracted to a greater degree. Their figural forms appear to have been mined from within the sculptor's material itself and are most attuned to Moore's concern with landscape. The legs and arms are denoted by piercings and negative space, hips, and shoulders by refined planes of mass. Their bodies are composed of great peaks and valleys, they are diminutive in scale, but substantial in presence.It was this specific form, Reclining Figure No.6, which Moore deemed so successful that he scaled it up to an eight-and-a-half foot elmwood carving, Reclining Figure of 1959-64 (now in the collection of The Henry Moore Foundation). Over his career Moore carved just six great reclining figure elmwood carvings, the first in 1935, the last in 1978. They are generally considered some of his finest work, in which the artist's control of the wood's broad grain to articulate the undulations of flesh is perhaps the strongest demonstration of his credence of truth to material. Five of the six Elmwood carvings, including the one relating to the present work, are in international museum collections.Interestingly, the maquette for Reclining Figure No.6 (now in the collection of The Henry Moore Foundation) was formed from a skeleton of plaster, over which the artist applied a surface layer of wax. This was an experimental use of materials for Moore, but highly successful. The sturdiness of the plaster allowed for a dynamic architectural form, awarding the figure a powerful rhythmic presence, yet the pliable wax layer affords a finer degree of refinement resulting in a highly nuanced surface.It should be noted that Moore's preoccupation with the present form began with the maquette in 1952-3 and peaked with completion of the elmwood carving in 1964. This period straddles one of Moore's greatest commissions, the monumental 16-foot UNESCO figure of 1956-8 carved in travertine marble. The two compositions share several features such as the enlarged and planed shins, which counterbalance the visual weight of the upright torso, and the alert, raised head which sits above a series of ovoid holes formed by poised limbs.Other casts from this edition are in the collections of the Montréal Museum of Fine Arts, The Henry Moore Foundation and the Milwaukee Art Museum.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

John Piper C.H. (British, 1903-1992)Byland Abbey signed and dated 'John Piper/1940' (lower right); further signed, inscribed and dated again 'Byland Abbey/by/John Piper/For Basil &/Frances./Nov. 1940' (verso)oil and pen and ink on canvas laid on board30 x 25.4 cm. (11 3/4 x 10 in.)Footnotes:ProvenanceThe Artist, by whom gifted toBasil and Frances Creighton, thence by descent toPrivate Collection, U.K.Their sale; Bonhams, London, 3 March 2011, lot 58With The Fine Art Society, London, where acquired by the present ownerPrivate Collection, U.K.Having become a leading British abstract artist in the mid 1930s, John Piper came to feel that it was an insufficient outlet for his artistic interests and sought to return to a more representational form of art. John Betjeman records that in 1938 he approached the artist to produce a Shell Guide to Oxfordshire. The task led Piper back to a childhood interest in architecture and in particular English churches. In the course of production of the Guide for which he took many photographs, he also produced a number of watercolours which Betjeman commended for their accuracy, affection, humour and feeling for texture and surrounding landscape.Following this project John Betjeman subsequently wrote: 'From 1938 until the war he [Piper] made regular tours to various parts of England and Wales, looking for stained glass, churches with box pews in a Cotman state of picturesque decay, ruins, early industrial scenery, Welsh lakes and waterfalls, follies, country houses, [and] Yorkshire caves. He came back with hundreds of water-colours and material for later oils.The transition from water-colour to oil is marked.... The landscapes in oil are essays in the careful use of colour which, though it may not be 'like', is like what the place painted is like to a poet. He believes that paint should not be thrown on, or scratched in, anyhow: but just as a church relates itself to a tree in a picture or a folly to a hill it stands on, one piece of paint should agree or disagree, combine or contrast with another and with all the other pieces.' (John Betjeman, John Piper, Penguin Books, 1948 edition, p.12-13).This period of travel throughout England and Wales between 1938 and the onset of the Second World War in September 1939 provided the material for Piper's first solo exhibition at the Leicester Galleries in March 1940 and proved highly successful. Piper's change of style and the success of the Leicester Galleries exhibition in turn led to Piper being commissioned as a war artist by Kenneth Clark, who, at the time, was the Director of the National Gallery.From August 1940 with the onset of the Blitz, Piper was phenomenally busy recording the destruction of the city churches at Bath, St Mary le Port Bristol, and subsequently Coventry Cathedral in November 1940. The series of oil paintings that he produced at this time, using his theory of colour very successfully conveyed the drama of this particular period in British history. Byland Abbey now belongs to English Heritage and is located at Coxwold in North Yorkshire. Founded in the twelfth century by a community of monks it was renowned for its sheep rearing and production of wool. The church, which was 100 metres long, was the largest in the country and rivalled the great cathedrals of Europe. Completed circa 1195 the church façade, with its distinctive ruined outline, is the subject of the present work.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

Sophie Ryder (British, born 1963)Lady-Hare with Dog signed and numbered 'Ryder/AC/2' (on the top of the base)bronze with a blue-green patina216 cm. (85 in.) highConceived in 1998, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceThe Artist, from whom acquired bySir John Craven (1940-2022)LiteratureJonathan Bennington, Sophie Ryder, Lund Humphries in association with Berkeley Square Gallery, Aldershot and London, 2001, p.24, cat.no.12 (col.ill., another cast)'She feels right to me, as if she had always existed in myth and legend, like the minotaur'The hare, an animal enshrined in mystique as well as folklore, has been central to Sophie Ryder's output. The hare made its first appearance in her work from the early 1980s and by 1990 she defined the animal's sex as female by placing it next to the minotaur, a mythological creature who is half man and half bull. The Lady-Hare emerged in 1996 and comprised a female trunk with breasts, arms and legs, crowned by a hare's head. In explaining the development of the theme, the artist has commented: 'I came up with the idea for the Lady-Hare when trying to work on a half-human, half-animal subject to use with the Minotaur. The hare seemed to work so well with a female human body. To me the long ears represent a mane of hair, and somehow the whole figure just works, and is so familiar to me. There is no legend behind the Lady-Hare, of course, but plenty of myth about the Hare itself' (Sophie Ryder quoted in Jonathan Bennington, Sophie Ryder, Lund Humphries in association with Berkeley Square Gallery, Aldershot and London, 2001, p.18). Lady-Hare with Dog dates to 1998 and portrays the new relationship between a lurcher, an animal known for its ability as a hunter, and the hare who is traditionally the hunted. However, here the relationship is tender and reconciled as the pair tightly embrace in both physical and spiritual terms, the lurcher having submitted completely to the hare who offers comfort and understanding. As Jonathan Bennington has noted, Lady-Hare with Dog is evocative of Picasso's Shepherd carrying Lamb (1943). We are grateful to the artist for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco...".Etching engraving illuminated by hand.Size: 72 x 48 cm (print); 73 x 49 cm (paper); 102 x 79 cm (frame).Avanzi di un antico Sepolcro, oggi detto la Conocchia, che si vede poco lungi dalla Porta di Capua per andar a Napoli. Questo Sepolcro non si sà quant Famiglia abbia poputo appartenere; stante che gli e stata levata la sua antica Iscrizione.Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.

Sadequain (Pakistani, 1937-1987)The Holy Sinner: Karachi : Mohatta Palace Museum in collaboration with Unilever Pakistan, 2003. 46.5 x 28.5cm (18 5/16 x 11 1/4in).Edition of 1200; in slip caseFootnotes:Sadequain: The Holy Sinner was published to accompany a retrospective held in 2002-2003 that featured over two hundred of Sadequain's non-calligraphic works. It reflected the artist's existential preoccupations with human suffering underpinned by his famous notion of 'mystic figuration.' This catalogue is a first edition and was part of the numbered first edition of 1200 catalogues that were published for the exhibition.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1915-2011)Mother-V printed Chinese signature upper left and signed and edition 16/100 versohand painted in silk screen203.5 x 101.5cm (80 1/8 x 39 15/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceArcher Graphic Studio, Ahmedabad. These works come from Husain's Chinese scroll series that he created between 2005-2009. They are a set of 29 large-scale serigraphs featuring two of his iconic themes, Mother Teresa and horses. Husain painted them, after which they were developed into silkscreens and were mounted onto black scrolls so that they could be hung like traditional Asian paintings. The series which included 18 and 11 prints of Mother Teresa and horses respectively, debuted as a complete collection in an exhibition that travelled to Dubai, Singapore, Beijing and Shanghai.In this series, Husain is paying homage to both East Asian artists and Mother Teresa. It was in 1952 that Husain visited China and was struck by ancient Chinese pottery and paintings, in particular that of the Sung dynasty renderings of horses and by the works of Xu Beihong. The dramatic monochromatic lines had the deftness of certainty yet also the fluidity of motion. Husain remained fascinated with the subject throughout his life, his early encounter with a horse being in his childhood when he saw the procession to mourn and commemorate the Prophet's grandson, Husayn ibn Ali, when an effigy of Husayn ibn Ali's horse was carried through the streets. As Husain has best surmised 'My horses, like lightening, cut across many horizons, hop across spaces, from the battlefield of Kerbala to Bankura terracotta, from the Chinese Tse Pei Hung horse to St Marco's horse, from the ornate armoured Duldul to the challenging white of Ashvamedha...the cavalcade of my horse is multidimensional.' (M.F Husain, 1987)Husain's first encounter with Mother Teresa was in 1979, when he met her at Delhi airport. She left a deep impression on him and become one of his most famous protagonists. The theme of motherhood was close to Husain's heart having felt the absence of his own mother, who died whilst he was an infant. Mother Teresa therefore represents ideal motherhood, nourishment, empathy and strength, however she is always painted without a face, as if to represent all mothers. The children are often seen clinging to her arms and clothes, a closeness that Husain wished he had with his own mother.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

Madhvi Parekh (Indian, B. 1942)Last Supper signed and dated in Devanagiri 'Madhvi 2011' lower right and edition 20/60reverse serigraph in 17 colours on acrylic, framed181 x 100cm (71 1/4 x 39 3/8in).image size (in) 40 x 72Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Often described as a 'folk' artist, Madhvi Parekh is recognised as a master and one of the most influential Modernist artists not only in South Asia, but also globally. Born in the village of Sanjaya, India in 1942, her journey in the art world began in the early 1960s, inspired by the work of her husband, Manu Parekh (B.1939), also a painter. The fact that she received her education during her first pregnancy deeply influenced her approach to the canvas. Her focus lies on the process of creation, rather than the result, which cannot be foreseen or known beforehand. Hence, her starting point is an idea, or better a feeling. She paints what she feels, without paying too much attention to critics and subsequent discussions of her work. Parekh creates art because she is drawn to it, regardless the external comments, the result, or the fame. It is the need to express herself, her story, and traditions.Undoubtedly, her personal background is visible in the subjects of her works, which often depicts the life in her village, festivities, and traditions, often through the perspective of a child. therefore, painting represents a sort of reminiscing and meditative process, where the artist's memories and the feelings she experienced during her childhood come to life. Her style represents the apparent simplicity of youth. Usually compared with Paul Klee (1879-1940) and Joan Miró (1893-1983), her technique consists of an instinctive and creative use of simple lines and shapes, such as triangles and squares. Parekh succeeds in combining flat surfaces, pictorial decorative elements of Indian art tradition together with a modern deconstruction of the forms and of the subject matter. Parekh unmistakable style jumps out of the canvas in her version of The Last Supper (2011). Her work represents an intelligent and original appropriation of Christianity most celebrated event, reinterpreted through a laic and modernist sensibility. Parekh's painting refers to Leonardo da Vinci (1452-1519) homonymous work painted between 1495-1498. The basic structure of da Vinci's work is maintained. Even the apostles appear in the same poses and order. The composition of the background is also preserved, with the three windows that open on a generic city landscape. However, the lack of perspective and the reduced pictorial depth, the flat surface, and the geometric forms of the figures typical of Parekh and modernist style debunk the divine aura of the subject. In fact, although the iconography of this subject matter is universally known and recognisable, it is not part of Parekh's tradition. The fact that the artist does not identify herself as a Christian, together with Parekh's style turns this classic and sacred motif into a secular tale of friendship and betrayal, themes that are shared in many myths and legends across the globe. In this work, the artist succeeds in synthesizing cultural differences, shared topics, and her own responses to da Vinci's work in primis, and to this alien tradition.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

Hobbes (Thomas) Elementa Philosophica de cive, engraved pictorial title, one or two instances of light spotting or damp-staining, later vellum backed boards, corners a little rubbed, Amsterdam, Henr. and Vidaum Th. Boom, 1696 § Ferguson (Adam) Grundätze der Moralphilosophie..., first German edition, bookplate to title verso, contemporary half calf, extremities a little rubbed, Leipzig, 1772 § Collins ([Anthony]) Paradoxes Métaphysiques sur le principe des actions humaines..., contemporary mottled calf, spine gilt with red morocco label, Eleutheropolis, [1776]; and 2 others eighteenth century continental, mathematics and astro-theology, 12mo & 8vo, (5)

NO RESERVE Prophetess.- Southcott (Joseph) Mr. Joseph Southcott, the brother of Joanna Southcott, will now come forward as Dinah's brethren did; that they shall not deal with his Sister, as they would with a Harlot, first edition, title with some marginal tears / chipping, final f. with repaired tear within text, with loss of the odd letter, but with seemingly no loss of sense, some spotting or staining, lightly browned, crude stitching, Printed by S. Rousseau, 1804; and 2 others, Southcott and miraculous cure, 8vo (3)⁂ Joanna Southcott (1750-1814), self-proclaimed religious prophetess from Devon.

Poetry.- [Croker (John Wilson)] The Amazoniad; or, Figure and fashion: a scuffle in high life, first edition, a few pseudonyms identified in pencil, some foxing, modern red half morocco, spine gilt, spine faded, Dublin, Printed by John King, 1806 § Cabanel (Daniel) Poems and imitations, first edition, presentation copy from the author, half-title, spotted, original drab boards, original pink printed paper label to spine, central crease to spine, joints split, but holding firm, spine ends and corners worn, lightly stained, rubbed, Printed for R. Bickerstaff, 1814 § Infant death.- [Moir (David Macbeth)] Domestic verses, first edition, presentation copy from the author, original purple limp cloth, titled in gilt on upper cover, spine faded, Edinburgh, no printer, 1843; and 20 others, 19th century Poetry, v.s. (23)⁂ The second mentioned includes an Elegiac tribute to Prime Minister Spencer Perceval shortly after his assassination.

Brothels.- [Mandeville (Bernard)] Venus la Populaire, or Apologie des Maisons de Joye, first edition in French, wood-engraved device to title of a winged head with single layer of wings and head and wings detailed with fine lines, wood-engraved tail-piece to p.130 of two seated cherubs (without instruments), title with 'ignibus extinguitur', manuscript ink inscriptions to front pastedown, some very light browning, ?near contemporary wrappers with manuscript paper label to upper joint, spine rubbed, uncut, [STC N504777], 8vo, ?London, ?Moore, 1727.⁂ Rare first edition in French of Mandeville's libertine text, originally published in 1724 in English as, 'A Modest Defence of Publick Stews: or, An Essay upon Whoring, arguing for the establishment of state-regulated brothels', under the pseudonym of 'Phil-pornix'. Three editions were published of the French in 1727 - with an fictitious London imprint; most likely done in either France or Holland - each of which have slight variations in design of title vignette and end tail-piece, as well as one or two minor text differences.

NO RESERVE Southey (Robert) The Life of Nelson, 2 vol., first edition, second issue with p.258 correctly numbered, half-titles, frontispieces, light offsetting, 1p. advertisements at end of each vol., armorial bookplate of Sir Robert Eden to front pastedowns, original purple calf, gilt, spines gilt in compartments, slight rubbing to extremities, a very good set generally, [Cowie 139], 8vo, 1813.

Frasso (Antonio de lo) Los Diez Libros de Fortuna de Amor, 2 vol., second edition, engraved portrait frontispiece, 8 engraved plates, ink ownership inscriptions front endpapers, vol. 1 with extended manuscript note front endpaper, a few ff. browned, occasional instances of minor isolated spotting or soiling, contemporary vellum, spine with red and green morocco labels, some light surface toning, [Palau p. 496 94692], 8vo, Londres, Henrique Chapel, 1740.⁂ Originally published in Barcelona in 1573. This second edition was printed under the direction of Pedro Pineda, to whom a note in English at the end of vol. 2 is attributed. Here he explains how, the first edition of the text is "one of the greatest rarities in the Spanish tongue", a copy of which being "one of the scarcest [...] in the world". He also states he has "tried all sorts of methods to get it for five and twenty years."

Scott (Sir Walter) Tales of My Landlord. Second Series, 4 vol., second edition, 19th century half calf, joints rubbed, Edinburgh, 1818; Tales of My Landlord. Fourth and Last Series, 4 vol., first edition, 19th century aubergine calf, gilt, spines gilt in compartments, light fading to spines, extremities a little rubbed, 1832; The Lay of the Last Minstrel, a Poem, sixth edition, half-title, some light scattered spotting, contemporary tree calf, gilt, spine gilt in compartments with red morocco label, 1807; and 10 others Scott, 8vo (19)

Angling.- [Boaz (Herman)] The Angler's progress...Developing the pleasures the angler receives from the dawn of the propensity in infancy, till the period of his becoming a complete angler, second edition, half-title, charming wood-engraved vignettes, 2 advertisement ff. of Angling books at end, some offsetting and light staining, lightly browned, modern blue wrappers, [W&S p.35], Printed for J. H. Burn, 1820 § Dickens (Charles) Barnaby Rudge, first American edition in book form, wood-engraved frontispiece and illustrations, occasional staining / water-staining, contemporary black half calf, gilt, corners worn, rubbed, [Gimbel A63], Philadelphia, Lea & Blanchard, 1842; and 13 others, 19th century English, v.s. (15)

Women novelists.- Hawkes (Lætitia Matilda) Heraline; or, opposite proceedings, 4 vol., first edition, half-titles to all but vol.1, vol.2 conjugate P4&9 misbound and loose (consequently with a little dust-soiling to edges), some spotting and light staining, contemporary half calf, gilt spines in compartments, vol.2 lower joint splitting, but holding firm, rubbed, joints heavily so, [Blain, Clements & Grundy, Feminist companion to literature in English, p. 500], Printed for F. C. and J. Rivington; and T. Hookham, 1821; and 12 others, Women novelists, including 2 family sets of works by Frances Rose, large 12mo (16)

Military.- The Soldier's companion or martial recorder, consisting of biography, anecdotes, poetry, and miscellaneous information; peculiarly interesting to those connected with the military profession, Vol.1 [all published], title lightly soiled, occasional spotting or mostly light foxing (the latter most noticeable on final few ff.), endpapers foxed, contemporary dark blue straight-grain morocco, gilt, upper joint splitting, but holding firm, foot of spine and corners worn, rubbed, g.e., For the Editor, by Edward Cock, 1824 § Anthropology.- Murray (Hugh) Enquiries historical and moral, respecting the character of nations, and the progress of society, first edition, lacking half-title, some spotting, lightly browned, contemporary blue half calf, spine richly gilt, spine ends and corners little worn, rubbed, Edinburgh, printed by James Ballantyne and Co., 1808; and c.20 others, mostly miscellaneous 19th century, v.s. (c.22)

Provincially printed book-keeping for children.- Wells (G.) A Commercial Guide, for the Use of Schools: Containing a Practical Application of the Principal Rules of Arithmetic to the Purposes of Trade, first edition, ink ownership inscription to front free endpaper and title, occasional spotting, contemporary sheep, gilt, upper joint split, but holding, spine ends and corners worn, rubbed, [Not in Historical Accounting Literature], Chipping Norton, Printed by J.H. Truby, 1824; and 3 others, Finance, 12mo & 8vo (4)⁂ Rare, with four copies recorded by Library Hub and WorldCat between them.

Goethe (Johann Wolfgang von) Faust: A Drama...with translations from the German by Lord Francis Leveson Gower, 2 vol., second edition, engraved portrait frontispiece, armorial bookplate of Sir Robert Johnson Eden, some light foxing, mostly at beginning and end, contemporary half calf over marbled boards, rubbed, loss to spine labels, 8vo, John Murray, 1825.⁂ Seemingly the first complete English translation of Faust, Part One. Earlier partial translations were provided by Samuel Taylor Coleridge (attributed to) and Percy Shelley. Gower's own first translation, published in 1823, left sections untranslated.

Sadler (Michael Thomas) The Law of Population..., 2 vol., first edition, light foxing to endpapers, contemporary half calf with red and green labels to spine, 8vo, John Murray, 1830.⁂ First edition of a controversial work opposing Malthus' views on the inevitability of population growth. Sadler, radical Tory MP and leader of the factory reform movement, argued birth rates decline with rising levels of prosperity, directly contradicting the Malthusian paradigm. Sadler's work was in turn attacked in the Edinburgh Review by Thomas Macaulay in July 1830. In June 1832, Sadler was elected a Fellow of the Royal Society.

Godwin (William) Lives of the Necromancers, first edition, half-title, scattered faint spotting, 2pp. advertisements at the end, original cloth-backed boards, lightly sunned spine, slight bumping to corners and extremities, 8vo, 1834.

Woman novelist.- Blessington (Marguerite Gardiner, Countess) Strathern; or life at home and abroad. A story of the present day, 4 vol., first edition, lithographed portrait frontispiece, advertisement f. to end of vol.3, 2 advertisement ff. to end of vol.4, some spotting, engraved bookplates of Hannah Isabella Mande, these mostly lightly offsetting on to front free endpapers and titles, original green cloth-backed drab boards, original printed labels to spines, spines uniformly slightly faded, labels chipped, with loss of a few letters, corners little worn, rubbed, [Sadleir 248; Wolff 552; Loeber and Loeber, Guide to Irish Fiction, B187], a very good set of a rare novel, Henry Colburn, 1845; and 13 others, by the same, v.s. (17) ⁂ The author was a literary hostess and friend of Byron and Dickens. Strathern is a novel of high society, set in contemporary Rome. Certain characters were intended to be easily identifiable, notably Bulwer Lytton who is maliciously portrayed as the simpering Webworth; a name derived from his estate at Knebworth.

Le Fanu (Joseph Sheridan) Uncle Silas: A Tale of Bartram-Haugh, first 1 vol. edition, first illustrated edition, half-title, wood-engraved frontispiece, additional title with wood-engraved vignette, contemporary red half calf, spine gilt with black morocco label, lightly scuffed, [Sadleir 1386b], 8vo, Richard Bentley, 1865.

[Defoe (Daniel)] La vita e le avventure di Robinson Crusoe, 2 vol. in 1, second edition of the first Italian translation, woodcut frontispieces to each vol., title ornaments, head- and tail-pieces and decorative initials, water-stained, some spotting or staining, lightly browned, modern mottled calf, spine in compartments and with red leather label, rubbed at extremities, Venice, Domenico, 1748; and an Italian translation of Addison's Cato, 1725, 8vo & small 4to (2)⁂ The translation was taken from the French translation of Themiseul de Saint-Hyacinthe and Justus van Effen.

Novels.- India.- Lodwick (R.W.) John Bolt, Indian civil servant. A tale of old Haileybury and India, 2 vol., first edition, half-titles, errata slips tipped-in at start, advertisement f. after title in each vol., vol.1 title upper inner corner with neat gnawing, both vol. final versos and endpapers browned, original green pictorial cloth, spines gilt, rubbed, [Not in Wolff or Gupta, India in English Fiction], Digby & Long, [1890] § Yorkshire farm & mill workers.- Marshall (W.) Monsell Digby. A novel, 3 vol., first edition, presentation copy from the author to his niece, initial advertisement f. to each vol., occasional spotting, original dark olive decorative cloth, spines gilt, rubbed, a good set, [Wolff 4582], Remington, 1880; and 17 others, 19th century Novels, v.s. (22)

Wharton (Henry Thornton, translator) Sappho, half-title, modern ink inscription to endpaper, occasional light spotting, contemporary half red morocco, by Hatchards, rubbed, upper joint cracked but holding firm, t.e.g., others uncut, 1895 § Grote (George) A History of Greece, 10 vol., new edition, the odd spot, later calf, arms of Eton College in gilt to upper covers, some light spotting and rubbing but still an attractive set, 1888 § Hughes (Thomas) Alfred The Great, Eton College prize bookplate to endpaper, later polished tree calf, lightly rubbed, inner gilt dentelles, g.e., 1887, plates, all but first with bookplate of Douglas M. Hogg, gilt; and c.50 others, most leather bound, v.s. (c.50)

British authors in German.- Young (Edward) Der nicht fabelhafte Centaur, first edition in German, engraved frontispiece, small ink ownership stamp to title, foxed, lightly browned, contemporary marbled boards, 20th century printed library label to upper cover, rubbed and scuffed, [Kind, Edward Young in Germany, p.140], Leipzig, Johann Gottfried Dyck, 1755 § Edgeworth (Maria) Ausgewählte Erzählungen, 4 vol., some foxing, attractive contemporary calf-backed marbled boards, spines gilt and with light green labels, corners worn, rubbed, Stuttgart, Ebner & Seubert, 1840; and c.30 others, British authors mostly in German and a few in Dutch, including, Scott, Hazlitt, and Goldsmith, v.s. (c.35)

NO RESERVE Butler (Samuel) Erewhon Revisited, first edition, errata slip tipped-in, advertisements at end, small ink smudge to title, cracked hinges, catalogue clipping tipped-in, ex-library with usual label and stamps, original cloth, a little rubbed, slight bumping to corners and extremities, 1901; Butleriana, number 48 of 800 copies, frontispiece, plates, ex-library with label and blind-stamps, original morocco-backed boards, a little rubbed, Nonesuch Press, 1932; Erewhon, one of 300 copies, illustrations, original cloth, rubbed and worn, small stain to corners, bumping to corners and extremities, Montgomeryshire, Gregynog Press, 1932; and others by the same, 8vo (15)

Doyle (Sir Arthur Conan) The Hound of the Baskervilles, first edition, with "you" for "your" on p.13 line 3, lacking half-title, 14 plates by Sidney Paget only (of 16, lacking frontispiece and "Welcome, Sir Henry!"), additional plate from later edition bound in at p.170, a few plates strengthened along gutter with tape, 1 plate with tear to centre, with no loss and repaired with tape, occasional light spotting, original red pictorial cloth, stamped in gilt and black, neatly and sympathetically rebacked, retaining original backstrip, patch of discolouration to lower cover, light rubbing with gilt a little faded in places, endpapers renewed, [Green & Gibson A26], 8vo, 1902.⁂ Sherlock Holmes' most famous adventure and one of the most celebrated crime novels of all time.

NO RESERVE Forster (E.M.) Alexandria: A History and a Guide, second edition, folding map, illustrations, contemporary ink ownership signature to front free endpaper, endpapers lightly spotted, very occasional finger-soiling marks, original printed boards, lightly rubbed, spine toned, Alexandria, 1938; England's Pleasant land, first edition, original cloth, lightly faded, The Hogarth Press, 1940; Virginia Woolf, light spotting, original wrappers, lightly spotted, spine chipped and discoloured, Cambridge, 1942 § Kirkpatrick (B.J.) A Bibliography of E. M. Forster, original boards, dust-jacket, small abrasion mark to upper panel, some repaired tears, spine lightly toned, 1968; and 8 others, by or about Forster, 8vo (12)

NO RESERVE Hemingway (Ernest) Across the River and into The Trees, first American edition, first printing with the Scribner's "A" and seal on copyright page, browning stain to front free endpapers, small embossed name stamp to endpaper, original cloth, spine ends very lightly bumped, dust-jacket, soiling mark to upper cover, portion of loss to spine head, other nicks and chips to fore-edge and spine tail, short tears to lower panel, New York, 1950.

NO RESERVE Salinger (J.D.) Raise High the Roof Beam, Carpenters and Seymour, an Introduction, first edition, second state with the dedication present and misspelling "Sey-more" to p.173, original cloth, very light fading to spine, light sunning to spine tips, dust-jacket, light fading to spine, light rubbing and creasing to spine tips and corners, short nick with creasing to head of upper panel, and excellent copy, 8vo, Boston, 1963.

Dean (G. A.) A Series of Selected Designs for Country Residences, Entrance Lodges, Farm Offices, Cottages, etc.., first edition, 2 colour lithographs (1 as frontispiece; loose), 33 plates (some double page), a few with very light spotting, cracking to gutter at title, original blind-stamped cloth, some light damp-staining, rubbing to extremities, folio, Worthing et al., Charles Henry Knight et al., 1867.

Architecture.- Neutra (Richard) Architecture of Social Concern in Regions of Mild Climate, first edition, photographic illustrations, light browning to endpapers, original cloth, light browning, dust-jacket, spine ends and corners chipped, some chipping and wear to upper joint, creasing to head, 4to, Sao Paulo, 1948.⁂ Rare work by Neutra, especially so in the dust-jacket.

NO RESERVE Africa.- Livingstone (David) Missionary Travels and Researches in South Africa; including a sketch of sixteen years' residence in the interior of Africa, first edition, first issue with folding engraved frontispiece, engraved portrait (damp-stained at head), 22 wood-engraved plates, one folding diagram, 2 folding maps, illustrations, spotting to endpapers but a clean copy generally, armorial bookplate of Sir William Eden to front pastedown, later half calf, some chipping to head of spine, 8vo, 1857.

Africa.- Park (Mungo) Travels in the Interior Districts of Africa...in the Years 1795, 1796, and 1797, 2 parts in 1 vol., including Appendix, first edition, stipple-engraved portrait frontispiece, 3 engraved maps / charts (one with routes supplied in red and blue), 5 engraved plates (2 botanical), postscript f., 2 ff. of music, larger map with tear running from inner margin, light offsetting but a clean copy generally, subscriber's copy with armorial bookplate of Robert Eden to front pastedown, W. Bulmer & Co. for the author, 1799; The Journal of a Mission to the Interior of Africa, first edition, folding map, illustrations, light offsetting, for John Murray, 1815, lacking half-titles, uniform contemporary speckled calf, gilt, spines rubbed, spine labels chipped, 4to (2)

British travellers in North America.- Stamer (William) The Gentleman emigrant: his daily life, sports, and pastimes in Canada, Australia, and the United States, 2 vol., first edition, half-titles, these lightly browned, occasional spotting, original green cloth, spines gilt, foot of spine of vol.1 worn, corners little worn, some staining, rubbed, Tinsley Brothers, 1874 § St. John (Frederick Edward Molyneux) The Sea of mountains. An account of Lord Dufferin's tour through British Columbia in 1876, 2 vol., first edition, half-titles, mounted photographic portrait frontispiece of Lord Dufferin, original green blind-stamped cloth, spines gilt, some damp-staining to upper cover of vol.2, Hurst and Blackett, 1877; and 39 others, similar, v.s. (43)