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Aubrey Williams (1926-1990) Guyanese, 'Warrau', 1972, abstract oil on canvas, signed, titled and dated verso, 46 cm x 61.5 cm in a wooden frame.From the collection of John La Rose (1927-2006) and Sarah Swinburne White (d.2022), founders of New Beacon Books: https://en.wikipedia.org/wiki/John_La_Rosehttps://www.dawsonsauctions.co.uk/news-item/important-caribbean-art-going-under-the-hammer/?pc=16Spot of black emulsion paint to left hand side, probably later. No damage to canvas. Wear and small nicks to frame. Possible colour fade to painting over the years.

Italienischer Künstler des 17. Jahrhunderts, Kopie nach Jacopo Robusti Tintoretto (1560 – 1635)DER HEILIGE MARKUS BEFREIT EINEN SKLAVEN Öl auf Leinwand. 98 x 125 cm. In Prunkrahmen.Der Legende nach machte sich ein Sklave auf den Weg nach Venedig, um am Grab des Heiligen Markus zu beten, jedoch ohne die Erlaubnis seines heidnischen Herrn. Bei seiner Rückkehr will sein Herr ein Exempel an ihm statuieren und lässt deshalb anordnen, dass dem Sklaven öffentlich erst die Augen auszustechen, dann die Füße abzuhacken und schließlich der Mund zu zertrümmern sei. Jedoch versagen alle Marterwerkzeuge nacheinander den Dienst, da der Heilige Markus über den Gläubigen wacht. Daraufhin erkennt der Herr seinen Irrtum und pilgert gemeinsam mit seinem Sklaven zum Markusgrab. Dargestellt ist hier das Ende der Erzählung: Alle Folterwerkzeuge sind zerbrochen und liegen im Vordergrund am Boden; darüber staunt die Menschenmenge ebenso wie die Folterknechte, von denen einer mit weißem Turban einen zerlegten Hammer nach oben hält und dem Herrn zeigt, der rechts im Bild über der Menge sitzt und sich voll Überraschung und Einsicht nach vorne lehnt. Der unbekleidete Sklave liegt scheinbar ohnmächtig am Boden und wird durch ein auf ihn fallendes, gleißendes Licht besonders hervorgehoben; über ihm schwebt der Heilige Markus mit bewegtem rotem Mantel und mit einem seiner Attribute, dem Evangelienbuch in seinem linken Arm, dabei wird sein Haupt von einem goldgelben Strahlenkranz umgeben. Qualitätvolle Kopie des Werkes von Tintoretto, jedoch insbesondere mit mehreren farblichen Abweichungen: So trägt Markus auf dem Original einen gelben Umhang und auch der sitzende Herr ist deutlich zweifarbig gekleidet.Anmerkung: Das Originalgemälde von Tintoretto befindet sich in der Gallerie dell´Accademia, Venedig. (1301506) (18)Italian School of the 17th century, copy after Jacopo Robusti Tintoretto (1560 – 1635)THE MIRACLE OF SAINT MARK FREEING THE SLAVE Oil on canvas. 98 x 125 cm.In magnificent frame. High-quality copy of a work by Tintoretto, but with several variations in colour: in the original, Saint Mark is shown in a yellow cloak and the clothing of the seated gentleman is clearly two-coloured.Notes:The original painting by Tintoretto is held at Gallerie dell’Accademia, Venice.

Ludwig Bemelmans, 1898 Meran – 1962 New York CityDAS RATHAUS IN MÜNCHEN Mixed Media mit Gouache/ Tinte auf Papier 58,5 x 74 cm. Rechts unten signiert, links unten betitelt „Rathaus Munich“. Ungerahmt.Blick von erhöhtem Standpunkt auf den Marienplatz mit fahrender Tram, zwei Autos, dem Rathaus, der Mariensäule und im Hintergrund den beiden in rot-brauner Farbigkeit wiedergegebenen Türmen der Frauenkirche.Provenienz: Das Gemälde wurde 1948 von der Hammer Gallery in New York erworben. Derzeit aus europäischem Privatbesitz. Anmerkung: Ludwig Bemelmans war ein Schriftsteller und Illustrator europäischer Herkunft. 1914 ging er zu seinem in den USA lebenden Vater. 1935 unternahm er eine Deutschlandreise. Das vorliegende Werk soll aus der Zeit vor dem Krieg stammen. In seinen späten Lebensjahren als erfolgreicher Autor und Illustrator erhielt er den Auftrag, das Kinderzimmer der Yacht „Christina“ des Reeders Aristoteles Onassis auszumalen. Literatur: Das Werk ist abgebildet in: Ludwig Bemelmans, The best of times. An account of Europe revisted, with 50 color and 110 black illustrations by the author, New York 1948, S. 90. (1320541) (18))

LUDWIG LUTZ EHRENBERGER (1878-1950)SUMMER IN GERMANYlithographic poster in colours, cond. A, backed on linen 40 x 25 ins (102 x 66cm.)This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

PABLO PICASSO (1881-1973)COTE d'AZURlithographic poster in colours, 1962, printed by Mourlot, Paris , cond. A, backed on linen 39½ x 26ins (100 x 66cm)Footnotes:Ref:Czwiklitzer 177This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

HENRI MATISSE (1869-1954)NICE. FRANCE COTE-D'AZUR, La danseuse créolelithographic poster in colours, 1965, printed by Mourlot, Paris, cond. A, not backed 39 x 24 1/4ins. (99 x 61.5cm)This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

LUCIEN BOUCHER (1889-1971)AIR FRANCE, ZODIAC lithographic poster in colours, 1953, printed by Perceval, Paris, cond. A, not backed 29 x 42 3/4 ins. (73.5 x 108.5 cm.)This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Marc Chagall (1887-1985)La Famille au coq (Mourlot 567) Lithograph in colours, 1969, on Arches wove paper, signed and numbered épreuve d'artiste II/XXV, an artist's proof aside from the edition of 50, printed and published by Atelier Fernand Mourlot, Paris, with wide margins and deckle edges at right and below, with very pale light-staining, the colours very slightly attenuated but still strong, in overall good conditionImage 610 x 410mm. (24 x 16 1/8in.); Sheet 753 x 531mm. (29 5/8 x 20 7/8in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Marc Chagall (1887-1985)Composition fantastique (État définitif) (Mourlot 896a) Lithograph in colours, 1976, on Arches wove paper, signed and numbered 33/50 in pencil, with wide margins and a deckle edge at right, with time and light-staining, the colours slightly attenuated but still strong, generally in good condition, framedImage 635 x 480mm. (25 x 18 7/8in.); Sheet 785 x 625mm. (30 7/8 x 24 3/4in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Henri de Toulouse-Lautrec (1864-1901)Ambassadeurs: Aristide Bruant (Delteil 343; Adriani 3; Wittrock P4) Lithograph in colours, 1892, on two joined sheets of wove paper (as issued), Wittrock's only state, printed by Ancourt, Paris, with the République Française inkstamp, with margins, laid onto linen, with vertical and horizontal folds, skillfully repaired splits and losses and touched-in restorations in places, surface dirt, mainly to the margins, the colours slightly attenuated but still good, framed; together with the original Les Chansonniers de Montmartre songbook, a special edition on Aristide BruantSheet 1364 x 939mm. (57 x 37 7/8 in.)Footnotes:Toulouse-Lautrec's oeuvre includes paintings, prints and drawings and he considered printmaking to be just as important as painting. It was in lithography later in his career that he would excel and seal his reputation as one of the greatest colour lithographers of the 19th century.He moved to Paris in 1882 where he experimented with lithography, using dramatic scale, bold outlines and bright colours, inspired by the aesthetics of Japanese woodblock prints which were popular at the time. Toulouse-Lautrec's studio was in Montmartre and he became very well acquainted with the theatrical world, having accepted commissions in the local dance-halls in the 1880s. His paintings hung at the Moulin Rouge and Le Mirliton, where his friend Aristide Bruant was a cabaret singer.He produced 351 lithographs within a ten-year period. Twenty-eight of these were posters which were incredibly popular. Moulin Rouge-La Goulue, produced for the opening of the eponymous cabaret, was an overnight sensation and more commissions followed.Aristide Bruant commissioned the present poster to advertise his new act at the Ambassadeurs café-concert just off the Champs-Elysées, having moved from Montmartre to the more fashionable boulevards of central Paris. Toulouse-Lautrec's knowledge of this world and his friendship with Bruant gave him an advantage when producing these images. He conveys Bruant's big personality by filling the frame with his imposing figure and depicting him in his recognizable customary attire of cape, broad-brimmed hat and bright red scarf, using primary colours to capture people's attention.Toulouse-Lautrec became adept at producing the effects he wanted to render his subjects in just the right way. For Ambassadeurs he drew directly onto the stone and also employed a brush spatter technique where a fine mist of colour is sprayed onto the stone using a brush and mesh. Separate stones were used for each colour and printed in a particular order so they did not interfere with each other and registration marks ensured that they were all in the correct place. Toulouse-Lautrec was assisted by the Ancourt printing firm to print these posters. Their presses were not large enough to print the posters in a single pull so two sheets were used and stuck together. As a commercial poster it was printed in a large edition on thin wove paper and not intended to last a long time, so it is remarkable that it has endured. This impression has been in the same family since the 1940s when it was acquired by the owner's father during a sojourn in Paris. It is accompanied by a copy of Les Chansonniers de Montmartre songbook, containing the sheet music and words for songs in Bruant's act, a further enticement for the audience. It is a testament to Toulouse-Lautrec's technical skill, his powers of observation and use of colour that these images captured people's imagination and became part of the visual language of the belle époque era.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

Joan Miró (1893-1983)Plate 8, from Oda A Miro (Mourlot 910; Cramer books 175) Lithograph in colours, 1973, on Guarro watermarked paper, signed and numbered 17/75 in pencil, published by Ediciones Polígrafa, Barcelona, the full sheet with a deckle edge above, with pale mount staining, a crease to the upper left corner, otherwise in good condition, the colours bright and fresh, framedSheet 885 x 612mm. (34 7/8 x 24in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)Festa Major (Mourlot 1154) Lithograph in colours, 1978, on Arches wove paper, signed and numbered 'H.C. XVII/XXV' in pencil, one of 25 hors commerce impressions aside from the edition of 75, printed by Damià Caus, published by Galeria Maeght, Barcelona, the full sheet with a deckle edge above, with pale time staining, a vertical crease at right upper sheet edge, otherwise in good condition, the colours fresh and brightImage 880 x 580mm. (34 5/8 x 22 7/8in.); Sheet 990 x 725mm. (39 x 28 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)Majorette (Mourlot 1169) Lithograph in colours, 1978, on Arches wove paper, signed and numbered 'H.C. XVIII/XXV' in pencil, one of 25 hors commerce impressions aside from the edition of 75, printed by Damià Caus, published by Galeria Maeght, Barcelona, the full sheet with a deckle edge above, with pale time staining, handling creases to the upper left corner, otherwise in good condition, the colours fresh and brightImage 825 x 590mm. (32 1/2 x 23 1/4in.); Sheet 987 x 725mm. (38 7/8 x 28 1/2in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)Follet (Mourlot 1155) Lithograph in colours, 1978, on Arches wove paper, signed and numbered 'H.C. XXV/XXV' in pencil, one of 25 hors commerce impressions aside from the edition of 75, printed by Damià Caus, published by Galeria Maeght, Barcelona, the full sheet with a deckle edge above, with very pale time staining, a diagonal crease to the lower right of the sheet, otherwise in good condition, the colours fresh and brightImage 775 x 540mm. (30 1/2 x 21 1/4in.); Sheet 899 x 630mm. (35 3/8 x 24 3/4in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Miró (1893-1983)Rupestres V (Dupin 1039) Etching and aquatint in colours, 1979, on Arches wove paper, signed and numbered 15/30 in pencil, published by Maeght, Barcelona, printed to the edges of the full sheet, with deckle edges on all four sides, authenticated by Rosa Maria Malet in pencil verso, Fundació Joan Miró, Barcelona, in very good conditionSheet 760 x 560mm. (29 7/8 x 22in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Salvador Dalí (1904-1989)Petits Nus Ronsard, from Actes Nues (Michler & Löpsinger 258-265) The complete set of eight etchings with hand-colouring, 1974, on Japan paper, with title, text in French and justification, each sheet signed and numbered 24/95 in pencil, with the artist's blindstamp, also numbered in pencil on the justification, published by Propyläen Verlag, Berlin, the full sheets, loose (as issued), in good condition, within paper wrappers and original blue cloth covered portfolio with gilt stamped title on the spine and artist's signature on the frontSheets 385 x 290mm. (15 1/8 x 11 3/8in.); Folio 415 x 311mm. (16 3/8 x 12 1/4in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Roy Lichtenstein (1923-1997)Modern Head 5, from Modern Head series (Corlett 95) Embossed graphite with Strathmore die-cut overlay, 1970, signed in pencil, dated and numbered 72/100 (there were also 7 artist's proofs), published by Gemini G.E.L., Los Angeles, with their blindstamps, the full sheet, in very good condition, mounted in the artist's original frameImage 505 x 290mm. (20 x 11 1/2in.); Sheet 710 x 495mm. (28 x 19 1/2in.)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

Andy Warhol (1928-1987)Mick Jagger, from Mick Jagger Portfolio (Feldman & Schellmann II.144) Screenprint in colours, 1975, on Arches Aquarelle paper, signed in felt-tip pen by Andy Warhol and Mick Jagger, numbered AP 2/50 in pencil, one of 50 artist's proofs aside from the edition of 250, printed by Alexander Heinrici, New York, published by Seabird Editions, London, with their inkstamp verso, the full sheet, in very good condition, framedSheet 1109 x 733mm. (43 5/8 x 28 7/8in.)Footnotes:ProvenanceCoskun Fine Art, London.Acquired directly from the above by the current owner.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

Andy Warhol (1928-1987)Queen Elizabeth II, from Reigning Queens (see Feldman & Schellmann IIB.334-337) Unique screenprint in colours, 1985, on Lenox Museum Board, signed and numbered TP 26/30 in pencil, one of 30 colour variant trial proofs aside from the edition of 40 (there were also 10 artist's proofs), printed by Rupert Jasen Smith, New York, with their blindstamp, published by George C.P. Mulder, Amsterdam, the full sheet, in overall very good condition, the colours strong and vibrant, framedSheet 1001 x 799mm. (39 3/8 x 31 1/2in.)Footnotes:ProvenanceBelgravia Gallery, London (with their label).Sotheby's, Old Master, Modern & Contemporary Prints, London, 19 March 2013, Lot 177.Acquired from the above sale by the current owner.In 1985 Warhol produced his largest portfolio Reigning Queens, containing screenprint portraits of the four ruling female monarchs of the day: Queen Elizabeth II, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark and Queen Ntombi Twala of Swaziland. The image of Queen Elizabeth II was based on a photograph taken by Peter Grugeon at Windsor Castle on 2 April 1975 and released to celebrate Her Majesty's Silver Jubilee in 1977. Warhol was fascinated by fame and celebrity. He was the first artist to really comprehend the appeal of celebrity culture and how to harness this appeal to his advantage by producing iconic images of the famous and the glamorous which had an immediate impact and charisma. Warhol's decision to produce an image of the monarch took this up a level. A royal likeness stood apart from other portraits as the ultimate image of fame, celebrity and glamour and was treated with a certain reverence. On the other hand, Warhol was also well aware that this image would be instantly recognizable and attractive to collectors, thereby increasing his own fame by association, notably quoting 'I want to be as famous as The Queen of England'.Having worked as a commercial illustrator, Warhol understood how to present an image to attract attention. He favoured the screenprint process, which produced a precise defined image with hard edges and flat areas of colour, to achieve maximum impact for his radical and glamorous Pop art portraits. The use of this method is pertinent for the Queen as the most depicted woman in the world and indeed the bust length format and vibrant colours call to mind another iconic item of mass production, the postage stamp.Warhol has pared down the original image, removing some of the finer detail which gives character to the face, to leave an inscrutable façade. He has highlighted outlines on areas such as the crown and sash with the Royal Family orders, thus focussing the viewer's attention on the image of Her Majesty as a symbol of royal power; the public face and figurehead of the Royal House of Windsor. In this year of the Platinum Jubilee, we are delighted to be offering a unique version of this screenprint outside the standard edition, which can be regarded as truly iconic, both in subject and within the Warhol repertoire.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

Keith Haring (1958-1990)One Plate, from Growing (Littmann p.89) Unique screenprint in colours, 1988, on Lenox Museum Board, signed, dated and numbered TP 30/40 in pencil, one of 40 colour variant trial proofs aside from the edition of 100 (there were also 15 artist's proofs), printed by Rupert Jasen Smith, published by Martin Lawrence Limited Editions, New York, with their blindstamps, the full sheet, in very good condition, the colours strong and vibrant, framedSheet 1018 x 764mm. (40 1/8 x 30in.)Footnotes:ProvenanceMartin Lawrence Galleries, New York (with their label and certificate of authenticity).Acquired directly from the above by the current owner.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

Giorgio Morandi (1890-1964)Natura morta con il panneggio a sinistra (Vitali 31; Cordaro p.35) Etching, 1927, on wove paper, the second, final state, signed, dated and numbered 32/40 in pencil, with wide margins, in good condition, framedPlate 246 x 350mm. (9 3/4 x 13 3/4in.); Sheet 330 x 435mm. (13 x 17 1/8in.)Footnotes:ProvenancePrivate Collection, Italy (acquired circa 1960-1970)Thence by descent from the above to the present ownerOne of Morandi's finest etched works, Natura morta con il panneggio a sinistra, was produced in 1927 and reproduces the subject painted by the artist twice that same year (Vitali 1977, cat. 115-116). Morandi generally worked directly from his subjects and etched everything on a plate at one time. So there are a few states of his prints. Only two states were made of this subject, with a limited edition of forty impressions and some artist's proofs. The present impression is part of the second state, in which Morandi added oblique signs on the bottom left of the neck of the central bottle.His methodical use of the etched line to create shapes, volume and density of his marks, by hatching and cross-hatching alone without a descriptive outline, is clearly inspired by the great old master etchers Rembrandt and Goya, whom he profoundly admired.Natura morta con il panneggio a sinistra is one of his most accomplished large compositions of his celebrated still-lifes etchings. The gradual intensity of the etched line shaded surfaces is contrasted with areas completely untouched by the needle, creating a highly atmospheric chiaroscuro effect which Morandi named bianco assoluto (absolute white).Giorgio Morandi is considered the most outstanding Italian printmaker of the twentieth century. Unlike many other artists, his practice as a printmaker was not just a supplement to painting or an additional means of income. Etching had played a significant part of his artistic practice since the beginning of his career. He made his first etching in 1912, having taught himself the technique by reading a treatise of 1660 by another Bolognese artist Odoardo Fialetti. Morandi made very few prints until the 1920s, and only a total of 138 in all. Eighty of his prints were made in the short period between 1927-1933 and only a small number after the Second World War.Morandi held the Chair in Printmaking at the Academy of Fine Arts in Bologna from 1930 until 1956.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Robert Motherwell (1915-1991)Mexican Night II (Belknap 318; Engberg & Banach 348) Etching and aquatint in colours, 1984, on Whatman paper, signed and annotated 'AP IV/X' in pencil, an artist's proof aside from the edition of 70, printed by Catherine Mousley, published by Tyler Graphics Ltd., Mount Kisco, New York, with their blindstamp, the full sheet, in overall very good conditionSheet 635 x 609mm. (25 x 24in.)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

Richard Serra (born 1939)Iceland (Gemini 1547) Etching, 1991, on Konzo and Meirat Velasquez paper, signed, dated and numbered 18/46 in pencil, published by Gemini G.E.L., Los Angeles, with their blindstamp and their inkstamp on the reverse, the full sheet, in overall very good condition, in the original Gemini frameSheet 892 x 1409mm. (35 1/4 x 55 1/2in.)Footnotes:ProvenanceAcquired directly by the current owner from the publisher Gemini G.E.L, Los Angeles.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

David Hockney (born 1937)Mo McDermott (M.C.A. Tokyo 167) Lithograph, 1976, on Arches wove paper, signed, dated and numbered 46/100 in pencil, printed and published by Gemini G.E.L., Los Angeles, with their blindstamp, the full sheet, in good condition, framedSheet 825 x 603mm. (32 1/4 23 3/4in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Francis Bacon (1909-1992)Seated Figure (Sabatier 5) Etching and aquatint in colours, 1983, on Guarro wove paper, signed, numbered 'A.P 2/15' and dedicated To Giovanni Petretti in pencil, one of 15 artist's proofs aside from the edition of 99, printed and published by Poligrafa, Barcelona, the full sheet, with light-staining, the colours slightly attenuated but still strong, in overall good condition, framedPlate 729 x 540mm. (28 3/4 x 21 1/4in.); Sheet 1015 x 709mm. (39 7/8 x 27 7/8in.)Footnotes:ProvenanceGifted by the artist to lawyer Giovanni Petretti.Then, by descent to the current owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Francis Bacon (1909-1992)Study for the portrait of Pope Innocent X after Vélasquez (Sabatier 14) Lithograph in colours, 1989, on Arches wove paper, signed and numbered 6/60 in pencil, published by Michel Archimbaud for Librairie Séguier, Paris, the full sheet with a deckle edge below, in overall good condition, framedSheet 1160 x 770mm. (45 5/8 x 30 1/4in.) This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Bridget Riley (born 1931)Light Between (Schubert 56) Screenprint in colours, 1982-2004, on wove paper, signed, titled, dated and numbered 60/75 in pencil, printed by Sally Gimson, published by Artizan Editions, Hove, the full sheet, in overall very good condition, framedImage 557 x 495mm. (22 x 19 1/2in.); Sheet 761 x 610mm. (29 3/4 x 24in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (1881-1973)Colombe Volant (à l'Arc-en-ciel) (Bloch 712; Mourlot 214) Lithograph in colours, 1952, on Arches wove paper, signed and numbered 152/200 in pencil, the full sheet, with pale mount and time staining, in good condition, framedImage 508 x 650mm. (20 x 25 5/8in.); Sheet 548 x 767mm. (21 1/2 x 30 1/4in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Hockney (born 1937)Untitled No.346, from A Bigger Book: Art edition B iPad drawing in colours, 2010/2016, printed on archival paper, signed, dated and numbered 22/250 in pencil, co-published by the artist and Taschen, Berlin, with their blindstamp, the full sheet, in very good condition, within the original blue fabric-covered portfolio and paper wrappersImage 435 x 330mm. (17 x 13in.); Sheet 560 x 432mm. (22 x 17in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

David Hockney (born 1937)Untitled No.329, from A Bigger Book: Art Edition A iPad drawing in colours, 2010/2016, printed on archival paper, signed, dated and numbered 30/250 in pencil, co-published by the artist and Taschen, Berlin, with their blindstamp, the full sheet, in very good condition, within the original blue fabric-covered portfolio and paper wrappersImage 439 x 330mm. (17 x 13in.); Sheet 559 x 432mm. (22 x 17in.)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (1881-1973)Etreinte I (Bloch 1110; Baer 1103 V.B.b) Etching with drypoint, 1963, on BFK Rives wove paper, signed and numbered 37/50 in pencil, published by Galerie L. Leiris, Paris, 1967, the full sheet, in good condition, framedPlate 426 x 570mm. (16 3/4 x 22 3/8in.); Sheet 586 x 765mm. (23 x 30 1/8in.)Footnotes:ProvenanceGalleria del Milione, Milano (inv. no. 10Z58)Galleria del Girasole, Udine (inv. no. I797)Private Collection, Italy (acquired from the above, circa 1963-1970)Thence by descent from the above to the present owner.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Banksy (born 1974)Banksquiat (Grey) Screenprint in colours, 2019, on grey card, signed and numbered 218/300 in white crayon, published by the artist, with their blindstamp, the full sheet, in very good condition, framedSheet 703 x 750mm. (27 1/2 x 29 1/2in.)Footnotes:This work is accompanied by the new certificate of authenticity issued by Pest Control Office.ProvenanceGross Domestic Product (GDP).Purchased directly from the above at the time of issue by the current owner.Banksy's latest print, Banksquiat, is an homage to New York graffiti pioneer Basquiat. It depicts a big wheel with people lining up at a ticket booth underneath. Basquiat's trademark crown motifs replace the passenger lifts. In this work, Banksy defiantly questions the unstoppable commodification of Basquiat in recent times, by bluntly adding to the relentless commodification of Basquiat in recent times. Banksy executed two murals inspired by the American artist on a wall in the Barbican Centre (Central London) on the occasion of the largest Basquiat exhibition ever held in the UK in September 2017 – January 2018 - Boom for Real. The present work reproduces one of these two graffiti and the second was captioned: Portrait of Basquiat being welcomed by the Metropolitan police – an (unofficial) collaboration with the new Basquiat show. It was inspired by Basquiat's Boy and Dog in a Johnnypump – one of his most iconic artworks.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

AN ITALIAN MORION IN THE ~SPANISH~ FASHION, CIRCA 1580formed in one piece with an almond-shaped crown rising to a short ~stalk~ and a flat integral brim projecting to an obtuse point front and rear (the former pierced with a later wiring-hole), its edge formed with a plain inward turn accompanied by a narrow recessed border, the base of the crown encircled by fourteen holes for lining-rivets, and its surface retaining a black from the hammer finish overall19.0 cm; 7 ½ in highProbably from the group described by a workman as |stacked like flowerpots| in the basement of a store in Oxford Street, London in the 1960s. The shop concerned had been owned by the distinguished arms and armour dealer Fenton and Sons who had reportedly acquired a large number of these morions from Ireland between the wars. They were offered for sale at £2, 12s 6d a piece. It is fair to speculate that they are relics of the Elizabethan wars in Ireland, though this cannot be claimed with absolute certainty.

AN ITALIAN MORION IN THE ~SPANISH~ FASHION, CIRCA 1580formed in one piece with an almond-shaped crown rising to a short ~stalk~ and a flat integral brim projecting to an obtuse point front and rear (the former pierced with a later wiring-hole), its edge formed with a plain inward turn accompanied by a narrow recessed border, the base of the crown encircled by fourteen round-headed lining-rivets with brass rosette-washers, and its surface retaining a black from the hammer finish overall21.0 cm; 8 ¼ in highSee footnote to previous lot.

A GERMAN GAUNTLET FOR THE LEFT HAND, EARLY 16TH CENTURYformed of a long tubular cuff shaped to the point of the elbow and fitted with a short inner plate rigidly attached to it by rivets, a wrist-plate, four metacarpal-plates, a shaped knuckle-plate and scaled thumb and finger-defences, the former attached by a lateral hinge of leather; the whole retaining its black-from-the-hammer finish and its buff leather lining-gloveProvenance; Stated by the vendor to be from the armoury at Thoresby Hall, Newark, Nottinghamshire, sold Sotheby~s 1st June 1988 (part of lot 1065, 1070).

AN 18 BORE COMPOSITE FLINTLOCK PISTOL, EARLY 19TH CENTURY; PARTS OF A 140 BORE PERCUSSION BAR-HAMMER PEPPERBOX REVOLVER, MID-19TH CENTURY AND A NORTH AFRICAN SNAPHAUNCE PISTOL FOR THE TOURIST MARKET, LATE 19TH/20TH CENTURY; the first with tapering barrel, rounded lock, full stock and brass mounts of regulation type; the second with moulded barrel group, engraved rounded action, a single wooden grip (the other missing, losses), and iron trigger-guard; the third with sighted barrel retained by three chased white metal bands, and decorated stock (each extensively worn); the first: 20.5 cm; 8 in barrel; (3)

A .56 CALIBRE U.S. MODEL 1868 BREECH-LOADING ~TRAPDOOR~ SPRINGFIELD RIFLE AND A .46 CALIBRE AUSTRIAN MODEL 1867 WERNDL SYSTEM RIFLE, LOCK DATED 1871; of regulation type, the first with sighted barrel retained by two bands and dated 1870, Springfield arsenal lock dated 1863, full stock and iron mounts , with its iron clearing rod; the second with sighted barrel stamped with Ordnance marks and the date, 1880, at the breech, dated lock (hammer missing) and iron mounts, with its iron clearing rod; the first: 82.5 cm; 32 1/2in barrel ; the second 83.5 cm; 32 7/8 in barrel; (2)

AN 84 BORE SIX-SHOT PERCUSSION BAR-HAMMER PEPPERBOX REVOLVER, BIRMINGHAM PROOF MARKS, CIRCA 1850with fluted barrel group engraved with foliage around the muzzle, engraved rounded action, engraved bar hammer, walnut butt, and engraved mounts comprising trigger-guard and butt-cap (areas of pitting)8.0 cm; 3 1/8 in barrels

A 100 BORE SIX-SHOT PERCUSSION PEPPERBOX REVOLVER, BIRMINGHAM PROOF MARKS, MID-19TH CENTURY with fluted barrel group, scroll-engraved rounded self-cocking action, engraved bar-hammer, engraved trigger-guard, figured walnut butt, and engraved back-strap and pommel (areas of light pitting)7.5 cm; 3 in barrels

AN 80 BORE TRANSITIONAL SIX-SHOT SELF-COCKING BAR HAMMER PERCUSSION REVOLVER, BIRMINGHAM PROOF MARKS, MID-19TH CENTURY AND AN 80 BORE DOUBLE-ACTION OPEN-FRAME PERCUSSION REVOLVER, BIRMINGHAM PROOF MARKS, CIRCA 1860the first with blued sighted octagonal barrel engraved around the muzzle, scroll-engraved rounded action, engraved bar hammer, numbered cylinder engraved around the forward edge, engraved back-strap and butt-cap, finely chequered walnut butt, scroll-engraved iron trigger-guard, and with traces of early finish; the second with octagonal sighted barrel inscribed ~Improved Patent~, scroll-engraved open frame, blued trigger, chequered walnut butt, engraved iron trigger-guard, and sprung rammer (areas of pitting)the first: 11.7 cm; 4 5/8 in barrelthe second: 12.5 cm; 5 in barrel(2)

AN 80 BORE TRANSITIONAL SIX-SHOT SELF-COCKING BAR HAMMER PERCUSSION REVOLVER BY COGSWELL, 224 STRAND, LONDON, MID-19TH CENTURYwith octagonal sighted barrel, plain cylinder, scroll-engraved rounded German silver action, butt-cap and signed back-strap, border-engraved bar-hammer, figured walnut butt, and iron trigger-guard12.5 cm; 4 7/8 in barrel

A 16 BORE SPANISH PERCUSSION BELT PISTOL, EIBAR, CIRCA 1830-40with tapering barrel moulded at the muzzle, decorated with a brass inlaid linear design over the flat and with foliage towards the muzzle, engraved breech and tang, engraved lock fitted with characteristic hammer formed as a dog, figured walnut full stock, chequered butt, engraved iron mounts including numbered trigger-guard, side-plate, and pommel incorporating a plaque rising up to meet the tang (later ramrod)8.5 cm; 3 3/8 in barrel

AN 18 BORE PERCUSSION TRAVELLING PISTOL SIGNED HOLMES, BIRMINGHAM PROOF MARKS, MID-19TH CENTURY, POSSIBLY LIVERPOOL; with octagonal twist sighted barrel, engraved breech, engraved breech tang, signed, engraved back-action lock decorated with foliage and border ornament (hammer replaced), full stock, chequered rounded butt, engraved steel trigger-guard, vacant white metal escutcheon, and stirrup ramrod; 20.5 cm; 8 1/8 in barrel; ;

AN 18 BORE PERCUSSION RIFLED BELT PISTOL SIGNED R. B. RODDA & CO, LONDON, AND A 54 BORE PERCUSSION PISTOL SIGNED H. SMITH, LONDON, BIRMINGHAM PROOF MARKS, MID-19TH CENTURYthe first with signed barrel fitted with German silver fore-sight and stirrup ramrod beneath (restored), engraved lock with spurious signature, figured walnut full stock, and iron mounts including belt hook; the second with signed octagonal rebrowned sighted barrel, scroll-engraved German silver side-hammer action, finely chequered walnut butt, engraved iron trigger-guard and German silver shield-shaped escutcheon with the owner~s initials ~TK~the first: 16.8 cm; 6 5/8 in barrel(2)

A 40 BORE D.B. PERCUSSION PISTOL BY COGSWELL, 224 STRAND, LONDON, CIRCA 1850 AND A 50 BORE D.B. PERCUSSION PISTOL, BIRMINGHAM PROOF MARKS, MID-19TH CENTURYthe first with blued octagonal sighted barrels signed on the rib and fitted with stirrup ramrod beneath, scroll-engraved side-hammer action (the left hammer in two pieces), finely chequered walnut butt, and vacant German silver escutcheon; the second with turn-off barrels, scroll-engraved action, chequered walnut butt, engraved iron trigger-guard and vacant German silver escutcheonthe first: 11.0 cm; 4 3/8 in barrels(2)

AN IRISH 32 BORE PERCUSSION TRAVELLING PISTOL BY M. & J. PATTISON, DUBLIN, CIRCA 1840with browned twist sighted barrel inscribed ~Dublin~ on the flat, engraved breech inlaid with a gold-line, engraved tang, signed engraved back-action lock (hammer associated), figured walnut butt of characteristic slender form and cut with a panel of fine chequering on each side, engraved iron trigger-guard, engraved silver butt-cap,vacant silver escutcheon, and stirrup ramrod (restored, areas of wear)6.0 cm; 2 3/8 in barrelMark and John Pattison are recorded at 17 Crampton Court, Dublin, circa 1835-50.

A 54 BORE PERCUSSION POCKET PISTOL BY W. HOLLIS, CHELTENHAM, BIRMINGHAM PROOF MARKS, CIRCA 1840 AND A 45 BORE PERCUSSION PISTOL SIGNED SOUTHALL, LONDON, BIRMINGHAM PROOF MARKS, CIRCA 1850the first with octagonal barrel engraved around the muzzle and signed on the flat, scroll-engraved side-hammer action, folding trigger, chequered butt and vacant silver escutcheon and the second with signed octagonal barrel fitted with stirrup ramrod beneath, inlaid with a gold line at the breech, scroll-engraved action fitted with sliding thumb-piece safety-catch, folding trigger, chequered butt, and vacant silver escutcheonthe first: 9.0 cm; 3 1/2 in barrel(2)

A 32 BORE PERCUSSION PISTOL SIGNED GURNEY, LONDON, BIRMINGHAM PROOF MARKS, CIRCA 1840with signed rebrowned twist sighted barrel, engraved breech, scroll-engraved tang incorporating the back-sight and side-hammer action, highly figured chequered walnut butt, engraved iron trigger-guard, and stirrup ramrod13.0 cm; 5 1/8 in barrel

AN 80 BORE COMBINED D.B. PERCUSSION PISTOL AND DAGGER, 20TH CENTURYwith broad blade double-edged towards the point, fitted on each side of the forte with a barrel, engraved bar hammer, integral iron grip engraved with scrolls on each side and bearing the inscription~ Day~s Patent~ 6.5 cm; 2 1/2 in barrels

FOUR EAST EUROPEAN WAR HAMMER HEADS, 18TH AND 19TH CENTURIESthe first a Nadziak, in 17th century style, of characteristic form; the second an iron Obuch, with curved rear spike and small hammer face; the third copper alloy, with stout rear spike and fluted head; and the fourth of copper alloy, with sparsely engraved head, the third and fourth perhaps for ceremonial purposes24.7 cm; 9 ¾ in(4) 

AFTER GIAMBOLOGNA (1529-1608), BRONZE GROUP 'NESSUS & DEIANIRA' ITALIAN, 18TH CENTURY On later ebonised wooden base the bronze 40cm high, 51.5 cm high overall, the base 14cm wide Condition Report: Some rubbing, wear to patina of surface from age handling and cleaningPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

AFTER JOSEPH NOLLEKENS (1737-1825), A MARBLE GROUP 'CHILD BEING CARRIED BY A DOLPHIN' LATE 18TH/EARLY 19TH CENTURY Carved marble after the original model by Bartolomeo Cavaceppiapproximately 51cm high, 62cm wideProvenance:Formerly in Dodington ParkThe Hermitage museum holds in its collections what was probably the principle inspiration for this group- a large work in marble catalogued in 1768 as a work by Rafaello executed by Lorenzetti and 'restored' by Bartolomeo Cavaceppi. However, smaller versions by Joseph Nollekens, who had access to Cavaceppi's studio in Rome, were already recorded from as early as 1764 when a version was purchased by Lord Palmerston for Broadlands. Seymour Howard records other versions of these groups by Nollekens and his workshop: one for the 9th Earl of Exeter at Burghley, one at Althorp, another for the Earl Bishop, the fourth earl of Bristol and now at Ickworth and a fourth in terracotta for David Garrick. LiteratureS. Howard, 'Boy on a dolphin: Nollekens and Cavaceppi' in The Art Bulletin, June 1964, vol.XLVI, no.2, pp.177-189 mentioned in the note on p.188Condition Report: Restorations and repairs to old damages including: left ankle, feet and toes, right toes and section of ankle, left hand (now with further losses to three fingers), section of end of dolphin tail, area around wound to torso, possibly area of knee, top of pedestal. Brass or bronze pin stem possibly moved- as is receptacle slot to underside of child's bodyLoss to tip of child's nose.Overall dirty in areas- some extremity abrasions and scuffsPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

AFTER THE ANTIQUE, A BRONZE FIGURE 'SILENUS WITH INFANT BACCHUS' 19TH CENTURY Stamped 'Reduction Mecanique A. Collas Brevete' 39cm high, the base approximately 16cm wideCondition Report: Provenance; private collection Yorkshire. The bronzes from this collection have largely been left untouched for at least 10 years and have therefore acquired heavy coatings of atmosphere dust and dirt. Where possible the topmost layers of this have been removed using vacuum and soft brushes but we have elected to take this no further allowing potential purchasers to determine the levels of cleaning they require in accordance with their own taste.The general surface is fairly clean in this example and with fairly good shine and colour- the base however is very grimyPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.   Condition Report Disclaimer

A LARGE PAIR OF CAST STONE COLUMNS WITH SCROLLING FLORAL CAPITALS 20TH CENTURY each approximately 202cm high overall, the bases 36cm wide Condition Report: Will require some careful reassembly and fixing of the various sections/elements before safe installation in garden. Colour variance to columns from weathering, losses to exposed edges and details notably capitals from weathering, 1 with corner loss to top of bases- both with some losses to exposed edges and corners. Signs of old iron fixing points to columns with associated surface loss, top to one column with encircling crack and frost damaged topPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A CAST STONE URN IN THE NEOCLASSICAL STYLE, 20TH CENTURY The urn with twin ram head handles with ribbons and swags, plinth base164.5cm high, the base 61cm wideCondition Report: Generally fair to good condition- some mild colour variance from weathering- small losses to raised decoration notably ears of 1 ram, some rosette detail loss, main body of urn now fixed to pedestal stem with later mastic. Some losses to bases corners and to plinth of urnPlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A CARVED PORTLAND STONE TERM STATUE OF PAN LATE 19TH CENTURY Detailed with expressive face, playing a pipe, material wrapped tapering square section column below on plinth baseapproximately 200cm high Please note: The square stone slab illustrated beneath the main pedestal of this lot is not included in the lot.  Condition Report: Please note: The square stone slab illustrated beneath the main pedestal of this lot is not included in the lot.  There are some marks, scratches, knocks, and abrasions consistent with age and use. Weathering and with lichen build up to upper section and pedestal base, . Flute may well have started off originally longer and is cracked to centre. Some rubbing and detail loss- plinth edges wornPlease see the additional photographs as a visual reference of condition and which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.     Condition Report Disclaimer

A LOUVRE MUSEUM FULL SIZE PLASTER CAST OF 'THE APOLLO BELVEDERE' LATE 19TH/EARLY 20TH CENTURY The plinth base with impressed oval medallion mark "Musee Du Louvre, Reproduction Interdite, Ateliers De Moulage'approximately 230cm high, 160cm wideViewing: Please note this lot is on view at our Hambridge Lane Premises - approximately 10 minute drive from Donnington Priory. The original white marble statue from which this is a cast is thought to be a Roman copy of a lost bronze original made between 350 and 325 BC by the Greek sculptor Leochares and depicts Apollo as a standing archer. The statue was rediscovered during the Renaissance, probably in 1489 in the Anzio region of Italy and was in the private collection of Giuliano della Rovere before he became Pope Julius II.Condition Report: Viewing and collection; Please note this lot is on view by appointment only at our Hambridge Lane Premises- approximately 10 minute drive from Donnington Priory There are multiple marks, scratches, knocks, chips, cracks, damage, repairs and abrasions consistent with age, use and nature of material.Restorations including; to the right hand, left wrist, base, right elbow, and possibly feet etcHairline cracks visible including; to top of right leg- front and back, quiver, base throughout including most notably around Louvre roundel and upwards, right ankle, junction point of right arm and support etc Losses including to hair and some edges etc Please see the additional photographs as a visual reference of condition and which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

AFTER BERTEL THORVALDSEN, A LIFE SIZE BRONZE FIGURE OF HEBEAFTER THE 1806 FIRST VERSION, MODERN With stone pedestal base the bronze 157.5cm high, the base 39cm wide, pedestal cm high, cm wideProvenance: Property from the Kingshott Collection Condition Report: Weathering resulting in some areas where water has reacted with surface patina and caused stains runs. Generally however fairly good. Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A LARGE CAST STONE WARWICK VASE AND PEDESTAL IN THE MANNER OF COADE, LATE 18TH/EARLY 19TH CENTURY STYLEOn pedestal base with wreath mounts and later stone base approximately vase 77cm high, 126cm wide across handles, the pedestal 53cm high, 57.5cm wide, the further stone base 50cm wide, 69cm wide, 180cm high overallProvenance: Property from the Kingshott Collection Please note- the cataloguing for this has been amended;A LARGE CAST STONE WARWICK VASE AND PEDESTALIN THE MANNER OF COADE, LATE 18TH/EARLY 19TH CENTURY STYLECondition Report: Please note- the cataloguing for this has been amended;A LARGE CAST STONE WARWICK VASE AND PEDESTALIN THE MANNER OF COADE, LATE 18TH/EARLY 19TH CENTURY STYLEThere is some colour variance from weathering- some of the darker areas look to be part of the decoration- a wash to obscure joint points (mainly around handles and cast sections of body) and to give the appearance of greater age. However some of the darker wash is covering up losses notably to raised wreath elements to base- it is possible that some of the same wash is covering repairs and restorations to main urn section. Chip to top rim, and collar to pedestal and with some losses to exposed edges. Structurally seems to be ok- but there are area of crazing indicative of former structural tresses.separates into 4 sections for transport and would recommend strongly utilising good professional carriers to ensure safe collection and delivery.Please see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A PAIR OF LEAD TWIN HANDLED URNS 20TH CENTURY 17th century style mythological creature handles and applied cherub and foliate swags each 58cm high, 75cm wide across the handlesProvenance: Private Collection, Oxfordshire. Purchased Mallams 2007 Please note, the cataloguing for this lot has been updated and now reads: A PAIR OF LEAD TWIN HANDLED URNS, 20TH CENTURY, and not as printed in the catalogue.Condition Report: A PAIR OF LEAD TWIN HANDLED URNS 20TH CENTURY Some wear and weathering- possible repair to one handle feet with some distortions from weight and usePlease see numerous additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer