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A Royal Worcester squat vase, the wythern moulded body decorated with autumnal fruits and leaves by K Blake, shape number G161, height 3ins

An 18ct Gold Three Stone Diamond Ring, the brilliant cut stones claw set between textured shoulders (finger size K) (2grams).

An 18ct gold five stone diamond ring, the old cut diamonds in claw settings with scroll gallery, ring size K, total diamond weight 0.80cts, 4.4g

A 1960s Breitling single button chronograph Royal Canadian Air Force stainless steel wristwatch, 35mm case, running and stop watch function working, white dial with two subsidiaries and red second hand, on grey canvas strap, marked to rear cover: D.N.D., Ser: IL 1216/67, Stock No. 6645/21/802/1267, S. inside cover marked: Breitling, 1074050. Ref: “RCAF Chronographs” by Captain Darren Crabb, page 20, ISBN:978-0-9949871-0-5, also “British Military Timepieces” by K. Knirim, pages 730/35 Glass: Plastic with minor marks, Dial: signs of wear, notably to centre, Case: Some scratching and minor dents, Cover: Scratched, Movement: Overall OK but some very minor scratchnig and dirt

A c1960 Rodania single button chronograph Royal Canadian Air Force stainless steel wristwatch, 35mm case, running and stop watch function working, white dial with two subsidiaries and red second hand, on green canvas strap, marked to rear cover: Rodania, RCAF, Serial No., 1287, 6W/16, S, 4449H. Ref: RCAF Chronographs” by Captain Darren Crabb, 2015, ISBN:978-0-9949871-0-5, and also “British Military Timepieces”, K. Knirim, pages 730/35 Glass: Plastic with minor scratching, Dial: signs of wear, notably to outer, Case: Some scratching and minor dents, Cover: Scratched, Movement: Overall OK but some scratchnig and incised 311

A 1970s Hamilton two button chronograph Royal Air Force stainless steel wristwatch, 39mm case, running and stop watch function working, black dial with two subsidiaries, white and luminous hands and white second hand, marked Hamilton T with broad arrow, on black canvas strap, marked to rear cover: 6BB/9243306, broad arrow and 1153/71. Ref: “British Military Timepieces” by K. Knirim, page 623 Glass: Plastic with very minor scratching, Dial: some wear Case: Some scratching and minor dents, Cover: Scratched, Movement: Overall OK but some scratching

A c1980 Newmark two button chronograph Royal Air Force stainless steel wristwatch, 38mm case, running and stop watch function working, black dial with two subsidiaries, white and luminous hands and white second hand, marked Newmark, on black canvas strap, marked to rear cover: 6BB/9243306, with broad arrow and 114/80 and marked 4566 inside cover. Ref: “British Military Timepieces” by K. Knirim, page 623 Glass: Plastic with minor scratching, Dial: some wear, Case: Some scratching and minor dents, Cover: Scratched, Movement: Overall OK some very minor scratching and dirt

A c1940s Cyma WWW Military "Dirty Dozen" stainless steel wristwatch, 37mm case, running, black dial with broad arrow and subsidiary, Arabic numerals, replaced crown, rear cover marked with broad arrow and W.W.W P22685 and 27685, movement in sealed case and not inspected, on later brown leather strap, See “British Military Timepieces” by K. Knirim, pages 554-578 Glass: Plastic with very minor scratching, Dial: some very minor marks and wear and some rusting to hands, Case: Some scratching and minor dents, Cover: Scratched, Movement: Not inspected at time of cataloguing

An 18ct gold diamond signet ring, the old cut in claw setting, ring size K, 0.30ct, 2.6g

An 18ct gold diamond buckle dress ring, ring size K 1/2, together with an 18ct gold opal signet ring and a green chalcedony signet ring, both ring size O, 15g in total

MEADOWS, K. Heads of the People n.d, London, 2 vols. in 1, 8vo rbnd. hf. cf.

A star cut wedding band in 9ct - size K - 3.3gms

A triple ring 9ct wedding band size K 4.7g

A pink topaz & diamond dress ring in 9ct - size K - 2.3gms

A diamond & multi coloured stones ring in 14ct white gold - size K - 2.8gms

A RED STONE & DIAMOND RING IN 18ct GOLD - size K - 4gms

A diamond 3 stone cluster ring in 9ct - size K - 3.1gms

A diamond trilogy swirl ring in 18ct gold - size K.5 - 1.7gms

A vintage diamond flower head cluster ring - size K - 1.9gms

An 18ct hallmarked diamond ring, central floating daisy cluster within a gold border and flanked with pave set diamond shoulders, weight 19g, ring size K.

An 18ct diamond three stone ring, claw set brilliant cut stones, total weight approximately 0.70ct, to knife edged shoulders, weight 3.6g, ring size k 1/2.

An 18th century and later carved oak court cupboard, the arched paneled back below a frieze decorated with trailing grapes and leaves above a central arch panel flanked by two cupboard doors initialled K B and TO, over three short drawers and conforming panel base, height 180cn x depth 60cm x length 156cm.

A yellow, red and white metal Russian wedding band. Faint engraving. Ring size K. Weight 5.9g.

Two stone set signet rings. One yellow metal with an oval agate cartouche, engraved and pierced floral details to the shoulders and beaded border to the hexagonal bezel. The other a shield shape bloodstone cartouche, pierced details to the shoulders, hallmarked: 375, WCM, 9. Size K and D,5

Vintage Cricket autograph book containing many team signed pages from 1940/50s including 1948 Yorkshire Team inc Len Hutton , Ellis Robinson, A Coxon, W Watson, J V Wilson, Ted Lester, H Halliday, JP Whitehead, 1948 Middlesex Team inc J Robertson, F G Mann, L H Gray, Alex Thompson, D Compton, 1951 Gloucester inc T Graveney, A Wilson, G Lambert, C Cook, J Mortimore, G Emmett. 1951 Sussex inc J Langridge, D Bates, K Suttle, G Cox, J Oakes, 1951 Yorkshire inc Len Hutton, F Trueman, B Sutcliffe, D Brennan, B Close, Ted Lester, H Halliday, R Appleyard. 1951 England at Leeds inc L Hutton, F Brown, P May, W Watson, A Bedser, M Hilton, D Compton, R Tattersall, T Graveney. 1951 Lancashire inc C Washbrook, A Wharton, B Statham, K Grieves, M Hilton, R Tattersall, 1951 South Africa inc E Rowan, J Waite, P Mansell, A Rowan, R Mclean, Clive van Ryenveld. 1951 Northampton inc. D Brooks, N Oldfield, R Clarke, C Davis. Also has few opera and music autographs. Condition 8/10. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

The ex-Forrest Lycett, Don McKenzie, 'Jonty' Williamson1927 Bentley 3/4½-Litre Speed Model SportsCoachwork by CorsicaRegistration no. KOY 300Chassis no. HT1631*Corsica body fitted for Forrest Lycett in 1936*Extensively campaigned in BDC and VSCC events*Present ownership since 2006*Well maintained*Substantial history fileFootnotes:With characteristic humility 'W O' was constantly amazed by the enthusiasm of later generations for the products of Bentley Motors Limited, and it is testimony to the soundness of his engineering design skills that so many of his products have survived. From the humblest of beginnings in a mews garage off Baker Street, London in 1919, the Bentley rapidly achieved fame as an exciting fast touring car, well able to compete with the best of European and American sports cars in the tough world of motor sport in the 1920s. Bentley's domination at Le Mans in 1924, 1927, 1928, 1929 and 1930 is legendary, and one can only admire the Herculean efforts of such giants as Woolf Barnato, Jack Dunfee, Tim Birkin and Sammy Davis, consistently wrestling the British Racing Green sports cars to victory. W O Bentley proudly unveiled the new 3-litre car bearing his name on Stand 126 at the 1919 Olympia Motor Exhibition, the prototype engine having fired up for the first time just a few weeks earlier. Bentley's four-cylinder 'fixed head' engine incorporated a single overhead camshaft, four-valves per cylinder and a bore/stroke of 80x149mm. Twin ML magnetos provided the ignition and power was transmitted via a four-speed gearbox with right-hand change. The pressed-steel chassis started off with a wheelbase of 9' 9½' then adopted dimensions of 10' 10' ('Standard Long') in 1923, the shorter frame being reserved for the TT Replica and subsequent Speed Model. Rear wheel brakes only were employed up to 1924 when four-wheel Perrot-type brakes were introduced.In only mildly developed form, this was the model that was to become a legend in motor racing history and which, with its leather-strapped bonnet, classical radiator design and British Racing Green livery, has become the archetypal Vintage sports car. Early success in the 1922 Isle of Man Tourist Trophy, when Bentleys finished second, fourth, and fifth to take the Team Prize, led to the introduction of the TT Replica (later known as the Speed Model) on the existing 9' 9½' wheelbase, short standard chassis. Identified by the Red Label on its radiator, the Speed Model differed by having twin SU 'sloper' carburettors, a higher compression ratio, different camshaft and the close-ratio A-type gearbox, the latter being standard equipment prior to 1927 when the C-type 'box was adopted. These engine changes increased maximum power from the standard 70 to 80bhp and raised top speed to an impressive 90mph. Other enhancements included the larger (11-gallon) fuel tank and (usually) André Hartford shock absorbers. Bentley made approximately 1,600 3-Litre models (513 to Speed Model specification), the majority of which was bodied by Vanden Plas with either open tourer or saloon coachwork. Indeed, VdP was responsible for bodying Speed Model 'HT1631', which was completed with the North London coachbuilder's four-seat tourer coachwork in September 1927 and sold new to one K S Peacock. The car left the factory fitted with engine number 'HT1634' and was first registered as 'OX 1607'. Arguably this car's greatest claim to fame is the fact that it was once owned by Forrest Lycett, gentleman racing driver and renowned Bentley aficionado, who was also one of the founders of the Bentley Drivers' Club (BDC). Forrest Lycett owned a succession of standard and not-so-standard Bentleys (many of which still exist) including the legendary 8-Litre built for him by Lewis 'Mac' McKenzie. Clearly a man with an insatiable appetite for speed, Forrest Lycett first attained a genuine 100mph on the public highway while driving his Speed Six in Spain, and in 1951 was timed at 136mph on the Jabbeke autoroute in Belgium at the wheel of the 8-Litre. Prior to WW2 the latter had been one of the world's fastest road cars, setting the International Class B standing-start kilometre record at Brooklands in 1937 and the British standing-start mile record at the Surrey track in 1939. Taking a break from his job in the City of London, Forrest Lycett famously drove to Brooklands on the latter occasion, broke the record and was back at his desk soon afterwards. It was Lycett who in 1936 commissioned the two-seat Corsica body this car has today. Based in North London, Corsica was a relatively small firm that allowed clients considerable freedom in determining their cars' final appearance – surely the ultimate in 'bespoke' – an approach that endeared it to wealthy sporting motorists such as Lycett. In February 1950, Lycett gave the car to Mac McKenzie's son Don, probably in appreciation of the work Don had done for him. In a (copy) article on file, Don recalls that the Bentley had been 'well stored on blocks in a dry, warm lock-up' and that it required a full engine rebuild. Modifications carried out included fitting standard-bore Specialoid pistons; replacing the ML magnetos with Scintilla units; fitting a Borg & Beck clutch and lightened flywheel; and installing a coaxial starter. After the driving position had been adjusted (the body had been made to measure for Lycett), the car 'performed quite well at the BDC Silverstone meeting...' Further modifications were made over the winter months and Don went on to make several attempts at 100 miles in the hour, first at Monza and later at Montlhéry. By this time reregistered 'KOY 300', the car is pictured at Monza and Silverstone in Ray Roberts' Bentley Specials & Special Bentleys. Circa 1955 a triple-carburettor 4½-litre engine was fitted to the chassis, which by this time featured hydraulic brakes, 16' wheels, and a lowered radiator. From 1962 'KOY 300' was owned by well-known 'Vintage' racer 'Jonty' Williamson, who enjoyed considerable success, winning the BDC's Rolls-Royce Trophy on four occasions, as well as the VSCC's Pomeroy Trophy and Richard Seaman Memorial Trophy. The Brighton Speed Trials were attended regularly.The Bentley is known to have passed later on through the hands of dealer Bunty Scott-Moncrieff. A (copy) old-style logbook on file lists two subsequent owners: Lord Binning of Dunbar and from September 1977 Paul-Heinz Roehll (Röhll), a German citizen with a home in Staffordshire. The Bentley appears to have resided in Germany from 1977 to 2005, latterly in the ownership of Mr Jürgen Pyritz, who had the car maintained by recognised Vintage Bentley specialist, Neil Davies (NDR Ltd). It was Neil who replaced the engine for the previous German owner, installing a genuine 4½-litre unit rebuilt with a Phoenix crankshaft and con-rods.The current vendor acquired 'KOY 300' from NDR in 2006, and there are bills on file showing that during the next two years the car benefited from considerable work undertaken by Vintage and Historic restoration specialists D H Day of Swindon. Some £40,000-50,000 has been spent during the vendor's stewardship. Little changed in appearance since Forrest Lycett's day, 'KOY 300' is a highly developed competition 3-Litre with a sporting pedigree stretching back to the 1930s. It is capable of exceeding 100mph and Bonhams can vouch for the fact that it goes like the proverbial rocket! Recently serviced and offered with a substantial data file, this historic 3-Litre is a car for the active Bentley enthusiast.For further information on this lot please visit Bonhams.com

1930 Aston Martin 1½-Litre International 'Short Chassis' Sports TourerRegistration no. GW 3860Chassis no. L0/92*One of 122 short-chassis Internationals*Known ownership history*Professional engine rebuild in 1993*Eligible for VSCC and AMOC eventsFootnotes:Manufactured by Robert Bamford and Lionel Martin, the first Aston-Martins (the hyphen is correct for the period) rapidly established a reputation for high performance and sporting prowess in the immediate post-WWI years. Unfortunately, the management's concentration on motor sport, while accruing invaluable publicity, distracted it from the business of manufacturing cars for sale, the result being just 50-or-so sold by 1925 when the company underwent the first of what would be many changes of ownership. The foundations were laid for the commencement of proper series production with the formation of Aston Martin Motors Ltd in 1926 under the stewardship of Augustus 'Bert' Bertelli and William Renwick. Built at the firm's new Feltham works, the first 'new generation' Aston Martins were displayed at the 1927 London Motor Show at Olympia. Like his predecessors, 'Bert' Bertelli understood the effect of competition success on Aston Martin sales and sanctioned the construction of two works racers for the 1928 season. Based on the 1.5-litre, overhead-camshaft road car, the duo featured dry-sump lubrication and this feature was carried over to the International sports model, newly introduced for 1929. Built in two wheelbase lengths (102' and 118'), the International was manufactured between 1929 and 1932, mostly with bodies by Augustus's brother Enrico 'Harry' Bertelli. Aston Martin built 136 cars between 1927 and 1932: 14 on the long chassis and 122 on the short International chassis. A contemporary road test of an International recorded a top speed of 81mph with up to 90mph attainable, depending on the axle ratio. The new Aston was soon making its mark on the racetrack, 'Bert' Bertelli and Pat Driscoll winning the Biennial Cup at Le Mans in 1932, one of many competition successes achieved before the International was superseded by the Le Mans and Ulster models. Private owners entered all kinds of competitions, while team drivers included Sammy Davis, Eddie Hall, Cyril Paul and George Eyston. Its chassis number reveals that 'L0/92' was built in December 1930 ('L' indicating December and '0' 1930) while the (copy) chassis card shows that it was not sold until October 1931. The car is listed as 'International Sports 4 Seater. Black body and red wings. Rotax lighting. New type brakes'. The first owner was one J H James of Brookdale, New Southgate, London N11, who appears to have been followed by H O Moore, Royal Engineers Mess, Catterick Camp. According to the old-style continuation logbook (issued 1948, copy on file), the Aston was first registered on 28th January 1932, more than a year after it had been completed. Known subsequent owners are as follows: Mr J W Greenwood of Herefordshire (early 1950s-1970s); Mr P Bevis of Stoulton, Worcestershire (1970s-1986); Mr K P Tankard of West Yorkshire (1986-1987); Mr Roger Ugalde of Exmouth, Devon (1987-1994); Mr John Carey of Malmesbury, Wiltshire (1994-2002); Mr Giovanni Strabiumi, Italy (2002-2009); and then the current vendor from December '09. On file are numerous invoices and correspondence dating back to the early 1950s, including a letter from the AMOC dated 22nd November 2002 confirming that 'L0/92' is an original short-chassis International with its original body and original engine. Arguably the most significant bill (running to some seven pages) relates to a full engine rebuild carried out by consulting engineer David Taylor in 1993 while the Aston was owned by Roger Ugalde. Since coming into the vendor's care the car has been maintained by Orchard Restorations of Maynards Green, East Sussex, their last bill being dated September 2019. Recently serviced, 'L0/92' is 'on the button' and ready to enjoy. Eligible for VSCC and AMOC events, this well documented, fast and highly desirable Vintage-era Aston Martin is one of the nicest examples of the much sought-after International, which is acknowledged as one of the outstanding designs of its era.For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)Le héros intrépide Katsantonis titré en grec (en haut à droite) pigments naturels sur panneau 74.5 x 30cm (29 5/16 x 11 13/16in).titled in Greek (upper right) natural pigments on woodFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 26 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 21 (listed in the exhibition catalogue).LittératureElefthera Grammata magazine, no. 63, March 25, 1947, p. 88 (illustrated).Epitheorisi Technis magazine, no. 16, April 1956 (illustrated on the front cover).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 177 (illustrated). Y. Tsarouchis, ed., Theofilos, Commercial Bank of Greece editions, Athens 1966, no. 56 (illustrated).C. Michiotis, Our Greece, Kastalia editions, Athens 1966, p. 441 (illustrated).E. Petropoulos, Rembetika Songs, Athens 1968, p. 415/20 (illustrated).Istoria magazine, no. 72, June 1974, p. 4, detail (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 21 (illustrated).Lexi magazine, no. 172, November-December 2002, p. 922 (discussed).D. Stamelos, Katsantonis, Estia editions, Athens 2004 [1980], p. 297, f.n. 4 (mentioned), p. 303 (illustrated).S. Sorogas, Aesthetic Geography, Stigmi editions, Athens 2006, p. 77 (discussed).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 106 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 229, no. 9 (listed).Magnisia magazine, no. 11, November 2008, p. 19, no. 10 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 101, 163 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionDisplaying Theofilos's fascination with the history and legend of the 1821 uprising, this captivating work, which pays homage to one of the great figures of pre-revolutionary Greece, featured as a cover illustration in the April 1956 issue of the influential Epitheorisi Technis art review. The artist Sotiris Sorogas recalls: 'I first saw a painting by Theofilos on the cover of an Epitheorisi Technis journal, during the first years of my studies, that is before 1960. It was hero Katsantonis with a musket on his fustanella kilt, holding a small pandouris, a string instrument almost identical to a modern day baglamas.'1The legendary klepht Katsantonis (1873/5-1807/8), who was a constant source of inspiration throughout the artist's career, is portrayed at a moment of leisure, possibly after a victorious battle, playing his beloved pandouris in an unspoiled natural environment, possibly the ravine on Mt. Tzoumerka where according to local lore he defeated the troops of Velingekas, Ali Pasha's henchman.The intrepid hero, whose depiction is a synthesis of diverse sources, is identified as such not only by the inscription on the upper right but also by pictorial means: he is handsome, sporting a large moustache, a flintlock musket (kariofili) resting on his lap. For Theofilos, a true Katsantonis is unthinkable without his ubiquitous kariofili and his signature fustanella kilt, the same highland garb as the painter himself wore when he left Smyrna for Athens to voluntarily enlist to fight in the 1897 war against Turkey.1 S. Sorogas, 'On Theofilos', Lexi magazine, no. 172, November-December 2002, p. 922.Témoignant de la fascination de Theofilos pour l'histoire et la légende de la révolte de 1821, cette œuvre captivante, qui rend hommage à l'une des grandes figures de la Grèce prérévolutionnaire, a illustré la couverture du numéro d'avril 1956 de la revue artistique Epitheorisi Technis. L'artiste Sotiris Sorogas rappelle : « J'ai vu pour la première fois une œuvre de Theofilos sur la couverture de la revue Epitheorisi Technis, au début de mes études, c'est-à-dire avant 1960. Elle représentait le héros Katsantonis portant un mousquet sur sa fustanelle et tenant un petit pandouris, qui est un instrument à cordes pratiquement identique au baglamas de l'époque moderne ».1Le héros intrépide Katsantonis (1873/5-1807/8), qui a été une source constante d'inspiration pendant toute la carrière de l'artiste, est représenté ici pendant un moment de détente, probablement après une bataille victorieuse, jouant de son cher pandouris dans une nature intacte, probablement le ravin du Mont Tzoumerka où, selon la tradition locale, il a défait les troupes de Velingekas, homme de main d'Ali Pasha.Le héros intrépide, dont le portrait est la synthèse de sources diverses, est identifié comme tel non seulement par l'inscription qui figure en haut et à droite, mais également par des moyens picturaux : il est beau, arbore une grande moustache, et tient un mousquet à silex (kariofili) sur son genou. Pour Theofilos, il est impensable de représenter le vrai Katsantonis sans son éternel kariofili et sa fustanelle, le même type de kilt que celui que le peintre portait lui-même lorsqu'il a quitté Smyrne pour Athènes afin de s'enrôler volontairement pour combattre dans la guerre de 1897 contre la Turquie.For further information on this lot please visit Bonhams.com

Nikolaos Gyzis (Greek, 1842-1901)Un moment tendre signé 'N. Gysis' (en bas à gauche)huile sur panneau40 x 32cm (15 3/4 x 12 5/8in).Peint en 1883signed (lower left) oil on panelFootnotes:ProvenanceGifted to a French collection by a philhellene collector in early 20th century.Private collection, Athens.This masterwork of Gysis's famous Bavarian genre showcases his incisive observation, narrative thrust, and consummate ability to capture a scene's moment and turn it into a compelling and beguiling work of art.In a humble and sparse rural kitchen setting with few utensils, an old woman in black headscarf has momentarily paused peeling an apple to affectionately hold the doll of her granddaughter who is kneeling in front of her. It is possible that she is asking her granny to put her doll to sleep as if it were a real baby. The child's palpable impatience to see the outcome of her wish lovingly contradicts the condescending smile of her grandmother who seems to play along and enjoy the scene. Body language is remarkably natural and highly talkative, displaying Gysis's aptitude to exploit the anecdotal with humorous finesse and convey a sense of cheerfulness that immediately engages the viewer. Moreover, the artist endows this graceful painting with an added quality, a sense of 'momentary stillness', also evident in his famous The betrothal of children in the Athens National Gallery. The scene is perceived as a moment in time, a brief, almost instantaneous halt in the unfolding of the narrative. Fascinated by the child's world, Gysis painted children of all ages, from infants to adolescents, often contrasting their solemn expressions to the playful disposition of their grandparents.1 Notably, he used the same two figures as his main characters in Grandmother dancing with her grandchildren, a painting known only from an archive slide.2 Gysis sketched similar kitchen settings and home interiors mostly while touring the villages of Bavaria and Tirol.3 In the late summer of 1883, he went on vacation to Brixlegg and made excursions to the valleys of Inn and Ötz as far as Innsbruck, sketching a lot along the way.4. The Bonhams picture evolved from such drawings and was painted right after his return to Munich. 1 See K. Didaskalou, Genre- and Allegorische Malerei von Nikolaus Gysis, München 1991, dissertation LMU, pp. 122, 123.2 See N. Misirli, Gysis, Adam editions, Athens 1995, no. 104, p. 156. The grandmother's face also resembles the countenance of his Old woman's head in the National Gallery in Athens (see ibid, no. 77, p. 131).3 Compare sketches of kitchen interiors from Inntal and Ötztal (September 1883) in K. Didaskalou, DerMünchner Nachlass von Nikolaus Gysis, München, 1993, vol. II, fig. 411, 417, 418, 422, 423, 429, 450, G21.4 Letters to G. Nazos, August 26 and 27, letter to N. Nazos, September 19, 1883, Nachlasskatalog, Drawings Nr. Z 384-453.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Sur la guerre d' Indépendance (Paysage orphique) huile sur toile120 x 100cm (47 1/4 x 39 3/8in).Peint en 1939oil on canvasFootnotes:ProvenanceThe artist's collection.Private collection, Athens. ExposéAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 12, under the title Paesaggio Orfico con Eroi (listed in the exhibition catalogue, p. 295).Athens, Institut Francais d'Athènes, Nikos Engonopoulos, Peintre et Poète, Huiles, Tempera et Livres, November 13-28, 1987, no. 7 (illustrated in the exhibition catalogue).Athens, Astrolavos Gallery, N. Engonopoulos, Mythology, Byzantium, Revolution, March 16 - April 3, 1999, no. 3 (illustrated in the exhibition catalogue, fig. 1).Thessaloniki, Macedonian Museum of Contemporary Art, Place: Engonopoulos, May 18 - July 29, 2007 (illustrated in the exhibition catalogue, p. 13).Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Nikos Engonopoulos, June 25 - October 1, 2017 (illustrated in the exhibition catalogue, p. 62).LittératureChartis magazine, no. 25-26, November 1988, p. 162 (illustrated).Ta Nea tis Technis, no. 34, 1995, p. 20 (discussed and illustrated).R. Zamarou, The Poet Nikos Engonopoulos, a Visit of Places and Figures, Kardamitsa editions, Athens 1996, p. 139 (mentioned).Nikos Engonopoulos, The Angels in Heaven Speak Greek, Interviews, Comments and Opinions, Ypsilon editions, Athens 1999, p. 64a (illustrated).Athens News, March 25, 1999 (illustrated).The National Herald (New York), March 27-28, 1999 (illustrated).Eleftherotypia newspaper, December 19, 1999 (illustrated).M. Ioannidou, The Theoretical Conditions and the First Phase of Surrealism in Greek Painting, Doctoral dissertation, Thessaloniki 2000, pp. 145-147 (discussed), no. 34 (illustrated).N. Andrikopoulou, Tracing Nikos Engonopoulos, Potamos editions, Athens 2003, p. 59 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 258, p. 128 (illustrated), p. 249 (illustrated), 418 (illustrated).N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 38 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 186, pp. 471-472 (discussed), p. 473 (illustrated).Culture magazine, no. 11, March 22-23, 2008 (illustrated on the front cover).O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, Nefeli editions, Athens 2009, p. 323-324 (discussed), no. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, November 23-24, 2007, Benaki Museum, Athens 2010, pp. 94, 96, 98 (discussed), no. 28 (illustrated).K. Voulgaris, Kolokotronis has the Beauty of a Greek, Vivliorama editions, Athens 2020, pp. 50-54 (discussed), p. 53 (illustrated). 'For Engonopoulos, the 1821 uprising was a celebration, a feast, an outburst, like nature's explosion in early spring.'1A tour de force inspired by the Greek Revolution and War of Independence, this emblematic Engonopoulos is a leading example of the artist's fervently sought after pre-war period. Using an avant-garde surrealist vocabulary and at the same time deeply rooted in Greekness, Sur la Guerre d'Indépendance (Paysage Orphique) was exhibited in the 1954 Venice Biennale, where, for the first time, Greece was represented by one artist alone. There, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the central theme of Surrealism. Using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration, Engonopoulos transports the viewer from ancient to modern times, staging a dream-like scene from the treasure trove of Greek history. The coexistence of ancient past (exemplified mainly by the lyre-holding Orpheus2 with the Minotaur head), recent history (illustrated by the hero of the Greek War of Independence in his traditional fustanella kilt) and modern reality (captured in such apt details as the round coffee shop table on the left, the still life with fruit in the foreground and the striped beach cabin in the distance) sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's attitude towards painting, both as a long and rich tradition to draw from, as well as an ideal vehicle to probe into the inner world of Greekness. Discussing Composition (Sur la Guerre d' Indépendance), art historian O. Tachopoulou notes: 'The picture shows a Minotaur/warrior, who is also a musician, holding with one hand a lyre while with the other seems to exhort a Greek warrior to make a triumphant gesture by waving a horse head. The modelling of the minotaur-like face with two geometric volumes—a recurrent convention in Engonopoulos's pictorial output—alludes to the artistic symbolism of the Minotaur motif that has nothing to do with feelings of fear or animosity. Instead, the artist uses the image of the Minotaur as a symbol of the subconscious, much the same way the surrealists used it before transforming it into a scary figure following the devastating experience of World War II.'3This persistence on indigenous cultural experiences combined with a deep sense for the historical past clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity.'4 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'his figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalized on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'51 Professor S. Rozanis as quoted in 'This is how Engonopoulos Saw 1821' [in Greek], O Kosmos tou Ependyti newspaper, March 21, 1999.2 Orpheus, the archetype of the poet as liberator and creator, held a particular fascination for Engonopoulos, who depicted him many times over a period of more than thirty years, often adopting him as his own persona. 3 O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, [in Greek], Nefeli editions, Athens 2009, pp. 323-324.4 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, October 21, 2007, p. A57.5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.«Pour Engonopoulos, la révolte de 1821 a été une célébration, une fête, une éruption, comme l'explosion de la nature au début du printemps.»Véritable tour de force inspiré par la Révolution grecque et la Guerre d'Indépendance, cette œuvre emblématique d'Engonopoulos est un exemple phare des œuvres les plus recherchées de l'artiste datant de l'avant-guerre, et est également profondément ancrée dans la « Grecité ». Sur la Guerre d'Indépendance (Paysage Orphique) a été exposé à la Biennale de Venise en 1954, ... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Silhouette/ La bas au loin et près de la mer signé en grec et daté '2006' (en bas à droite); signé et daté 'Yiannis MORALIS/ 2006' (au dos)acrylique sur toile120 x 106cm (47 1/4 x 41 3/4in).signed in Greek and dated (lower right); signed and dated (on the reverse) acrylic on canvasFootnotes:ExposéAthens, Zoumboulakis Galleries, Moralis, November 16 - December 2006, no. 1 (illustrated in the exhibition catalogue, p. 23, and on the exhibition poster).Andros, Y. Moralis, Traces, Museum of Contemporary Art – Basil and Elise Goulandris Foundation, June 29 - September 28, 2008, no. 44 (catalogued, p. 238 [257], and illustrated in the exhibition catalogue, p. 123). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.LittératureEleftherotypia newspaper, October 27-28, 2006 (illustrated).Kathimerini newspaper, November 8, 2006 (mentioned).O Kosmos tou Ependyti newspaper, November 11, 2006 (illustrated).To Vima newspaper, November 12, 2006 (illustrated).Eleftherotypia newspaper, November 12, 2006 (illustrated).Kathimerini newspaper, November 12, 2006 (illustrated).Apogevmatini newspaper, November 16, 2006 (illustrated).To Vima newspaper online edition, November 19, 2006 (mentioned). Gynaika magazine, December 2006 (illustrated).Radiotileorasi magazine, December 2, 2006 (illustrated).Kathimerini newspaper, December 2, 2006 (illustrated).Nea Estia magazine, no. 1796, January 2007, p. 172 (discussed).Ta Nea newspaper, e-edition, August 6, 2008 (illustrated).Rizospastis newspaper, e-edition, August 24, 2008 (mentioned).Gr Design magazine, September 2018, p. 54 (illustrated).Distinguished by the inherent poetry and eroticism of the curved line, this magnificent picture recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. The juxtaposition of the fair-skinned female figure in the foreground with the darker male form pointing towards the far-away sea—which ingeniously alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and pronounced erotic undercurrent. 'The sea, the island, the summer. A white body. The sea expands the landscape; you can hear its roar,' said poet Yannis Kondos when he saw Moralis's 2006 show. 'Curves and darker hues unwrap dreams.'1 As Nobel laureate O. Elytis once said of Moralis, 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochre and black dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely visual phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision. The body of a young girl emerges with the dampness of the sea, like a magnified fragment of an ancient Greek vase or a miniature fresco from a bygone place of worship.'2 From the 1970s to the first decade of the 21st century, as clearly demonstrated in his Zoumboulakis gallery one-man show in November 2006,3 Moralis had consistently adhered to the principles of geometric abstraction, exploring its mystical pathways and taking his place among its leading exponents.4 As noted by D. Papastamos, former Director of the National Gallery in Athens, 'in this, more advanced stage of his geometric abstraction distinguished by dynamic rhythm and expressive movement, he launches out into compositions dealing with human relationships, incorporating the male body into his interlocking geometric patterns. It seems to me that these are the artist's happy moments, depicted in a beautiful environment of luminous colour and irresistibly erotic humanity.'5 1 Y. Kondos, 'Yannis Moralis: Love, Abstraction and the Sea in his Last Exhibition', November 2006, in Secret Landscapes, [in Greek], Topos editions, Athens 2014, pp. 140-141.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 3 As noted by P. Zoumboulaki, 'the ten pieces exhibited in 2006 were created during the last five years on the island of Aegina, the place where Moralis works and spends most of his time. Even though the artist never speaks about his art, this collection reveals a high degree of sensitivity, evoking personal experiences, feelings and memories.' Preface to the Moralis exhibition catalogue, Zoumboulakis Galleries, Athens 2006.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 30.5 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.Ce magnifique tableau, qui se distingue par la poésie et l'érotisme dégagés par la ligne courbe, résume à lui seul l'obsession ancienne de l'artiste non seulement pour rendre la forme humaine suggestive, mais également pour traduire le rythme intérieur et la résonance musicale générés par la combinaison de types, formes et couleurs variés. La juxtaposition du personnage féminin à la peau blanche qui figure au premier plan et du personnage masculin pointant vers la mer au loin – qui fait ingénieusement allusion aux personnages en noir des vases attiques – charge la composition d'un rythme vibrant et l'irrigue d'un puissant courant érotique sous-jacent. «La mer, l'île, l'été. Un corps blanc. La mer élargit le paysage, au point que l'on peut entendre son grondement,' écrivait le poète Yannis Kondos lorsqu'il a vu l'exposition de Moralis en 2006. «Les courbes et les teintes plus foncées ouvrent la porte des rêves.»Comme l'a déclaré le lauréat du Prix Nobel O. Elytis à propos de Moralis, «en utilisant un vocabulaire formel limité, où dominent des courbes récurrentes et opposées d'ocre et de noir, Moralis a réussi – d'une manière qui n'a aucun précédent dans l'art grec – à transformer le monde naturel en un phénomène purement visuel. Les souvenirs et les rencontres sont constamment distillés jusqu'à se fondre dans des formes d'une grande simplicité et d'une grande précision. Le corps d'une jeune fille émerge de la moiteur de la mer, comme un fragment magnifié d'un vase grec antique ou d'une fresque miniature d'un ancien lieu de culte.»Entre les années 1970 et la première décennie du 21ème siècle, comme en témoigne l'exposition qui lui a été exclusivement consacrée dans la galerie Zoumboulakis en novembre 2006, Moralis a constamment adhéré aux principes de l'abstraction géométrique, explorant ses chemins mystiques et prenant toute sa place parmi les représentants majeurs de ce courant. Comme l'a fait observer D. Papastamos, ancien directeur de la Galerie nationale d'Athènes, «à ce stade plus avancé de son abstraction géométrique, distinguée par un rythme dynamique et un mouvement expressif, il se lance dans des compositions traitant des relations humaines, incorporant le corps masculin dans ses motifs géométriques entremêlés. Il me semble que ces compositions sont le reflet des moments heureux de l'artiste, et qu'elles ont été peintes dans un bel environnement inondé de lumière... This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Petite place dans le quartier de Keramikos, Athènes signé 'K. GHIKA' (en bas à droite)huile sur toile81 x 100cm (31 7/8 x 39 3/8in).Peint en 1928signed (lower right) oil on canvasFootnotes:ProvenanceG. Pikoulis collection, Athens.I. Nikolaidis collection, Athens.N. Petsalis-Diomidis collection, Athens.Private collection, Athens.ExposéAthens, To Trito Mati gallery, May 1977.LittératureTo Trito Mati magazine, no. 1, May 1977, no. 54 (illustrated).N. Petsalis-Diomidis, Ghika 1921-1940, Athens 1979, no. 58, p. 93 (mentioned), p. 95 (discussed), pp. 69, 132 (illustrated).J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, no. 29, pp. 54, 56 (discussed), p. 56 (illustrated).E. Mystakas, Nikos Hadjikyriakos-Ghika and Space in his Painting, doctoral dissertation, Athens, 2005, fig. 30, p. 309 (catalogued), p. 156 (discussed), p. 159 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, doctoral dissertation, Athens, 2006, pp. 72-73 (discussed), fig. 74 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, fig. 44, p. 54 (discussed), p. 55 (illustrated).'In the delectable The Square, Keramikos, a twilight view of an expanse of gentle topographical curves set within a group of neatly scattered dwellings, Ghika presents the simple, good-natured life of its inhabitants, occupied with their various activities, in a folk vein that harks back to the roots of the Greek artistic tradition. In its tonal sweetness and naiveté of touch, this work also recalls certain paintings by Henri Rousseau.'1 In this panoramic view of the quaint Athenian neighbourhood of Keramikos, the cluster of buildings dominating the centre of the painting, reminiscent of Galanis's or Braque's cube-like structures or even Quattrocento and Byzantine town depictions, is one of the artist's most characteristic iconographical elements from that period. As noted by Professor C. Christou, 'in the 1927-1929 period one of the issues taken up in Ghika's paintings seems to be the organisation of space as indicated by his predilection for architectural themes always treated with a disciplined design, interwoven planes and almost classicist purity of colour.'2 Of particular interest is also the woman leaning out of the window on the left flanked by open shutters, a subject the artist worked on in independent compositions in 1927, and the two figures on the right sitting around the ubiquitous round metal table of the traditional Greek coffee shop, a cornerstone of Athenian urban culture, whose enchanting allure was captured in works by S. Vassiliou, Y. Moralis, N. Ghika and other exponents of the thirties generation. 1 J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, p. 54. 2 C. Christou, 'Nikolis Hadjikyriakos-Ghika' [in Greek] in In Memory of N. Hadjikyriakos-Ghika, exhibition catalogue, Academy of Athens, Athens 1995, p. 12.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)Le héros Odysseas Androutsos titré en grec (en haut) pigments naturels sur carton63 x 44cm (24 13/16 x 17 5/16in).titled in Greek (upper part) natural pigments on cardboardFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 25 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 20 (listed in the exhibition catalogue).LittératureY. Tsarouchis, ed., Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 57 (illustrated).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 183 (illustrated). O. Elytis, The Artist Theofilos, Asterias editions, Athens 1973, p. 81 (illustrated).Epikaira magazine, no. 354, May 15, 1975, p. 74 (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 19 (illustrated).Aeolika Grammata magazine, no. 80-81, March-June 1984, p. 192h (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 97 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 228, no. 18 (listed).Magnisia magazine, no. 11, November 2008, p. 18, no. 32 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 162, 169 (illustrated).L. Vassis, ed., Klephtic Songs and National Uprising, Geitonas School - Endelecheia Society edition, Athens 2014, p. 26 (illustrated).Stilida News newspaper (e-edition), June 5, 2017, p. 1 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 5 au 9 mai 2021. Cette œuvre restera à Athènes pendant la vente aux enchères*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 5-9 May 2021. This work will be located in Athens during the auctionCaptured in a vibrant palette of dazzling, enamel-like yellows, blues and reds, this disarmingly captivating portrait showcases Theofilos's lifelong fascination with the 1821 Greek War of Independence, paying homage to a giant of the uprising. A celebrated hero and acute military mind, Odysseus Androutsos (1788/9-1825) was a brave and fierce klepht (brigand) who achieved legendary status when in May 1821, along with a band of 100 men, held back for days a force of more than 3,000 Turks led by Omer Vrionis at the pass of Gravia, preventing their descent to the Peloponnese. The frontal poise, direct gaze, pronounced linearity and total negation of three-dimensionality stem directly from the long tradition of Byzantine icon painting, transforming the young hero into a saint of a Modern Greek pantheon. The simplified design, pronounced linearity, inner dignity and purity of form are also reminiscent of Fayum portraiture, while foreshadowing the signature male portraits of Yannis Tsarouchis. This entrancing work relies not only on its heroic subject but also on purely formal and pictorial means to stir deep emotions. Enchanted by the epic 1821 uprising, Theofilos left his indelible mark as one of the forerunners of Modern Greek culture, much the same as General Makriyannis and novelist Alexandros Papadiamantis. The power, immediacy and disarming sincerity of his art smashed the confines of academicism and proved to be a key for defining and giving expression to the true face of Greece.Ce portrait captivant, qui exerce une fascination désarmante, réalisé dans une palette vibrante de jaunes, de bleus et de rouges éclatants et comme laqués, témoigne de la longue fascination de Theofilos pour la Guerre d'indépendance grecque de 1821, et rend un vibrant hommage à un géant de la révolte. Héros célébré et grand stratège militaire, Odysseus Androutsos (1788/9-1825) était un brave et fier klepht (brigand) qui est devenu une légende lorsqu'en mai 1821, aux côtés d'une troupe de 100 hommes, il a refoulé pendant des jours une armée de plus de 3.000 Turcs conduite par Omer Vrionis dans le défilé de Gravia, l'empêchant de descendre vers le PéloponnèseLa représentation de face, le regard direct, la linéarité prononcée et la négation totale de la tridimensionnalité sont autant d'héritages directs de la longue tradition de la peinture d'icônes byzantines, qui transforment le jeune héros en un saint du panthéon grec moderne. Le dessin simplifié, la linéarité prononcée, la dignité intérieure et la pureté de la forme rappellent également les portraits du Fayoum, tout en préfigurant les portraits d'homme de Yannis Tsarouchis. Cette œuvre exerce une séduction évidente, qui ne tient pas seulement au sujet héroïque qu'elle représente mais également aux moyens purement formels et picturaux employés pour déclencher de profondes émotions.Enchanté par la révolte épique de 1821, Theofilos a laissé une marque indélébile comme l'un des précurseurs de la culture grecque moderne, comme le Général Makriyannis et le romancier Alexandros Papadiamantis. La puissance, l'immédiateté et la sincérité désarmante de son art ont fait sauter les frontières de l'académisme et ont joué un rôle clé pour définir et exprimer le véritable visage de la Grèce.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Le couple signé et daté '75' (au recto); inscriptions 'EA 1-8' (au verso) bronze23 x 19 x 5cm (9 1/16 x 7 1/2 x 1 15/16in).Réalisé en 1975signed and dated (on the recto); inscribed (on the reverse) bronzeFootnotes:ProvenanceEstate of the artist.Private collection, France.ExposéAthens, Zoumboulakis Gallery, Moralis, March 1978, (illustrated in the exhibition catalogue). Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April 18 - June 5, 1988, no. 131 (listed in the exhibition catalogue, p. 129). LittératureC. Christou, M. Koumvakali-Anastasiadi, Modern Greek Sculpture 1800-1940, Commercial Bank of Greece edition, Athens 1982, (discussed, p. 139, and illustrated, no. 168).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 727, p. 467 (illustrated).I.Moralis, Angels, Music, Poetry, exhibition catalogue, Benaki Museum, Athens 2001, p. 70 (illustrated). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 156 (illustrated).Shown in S. Charalambopoulos, J. Moralis, documentary CD, Periplous editions, Athens 2005.Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 128 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Figure I, Figure IIsignées en grec et inscriptions 'EA 1-10' (les deux au dos)bronze26.5 x 16.5 x 2 cm. et 25 x 16.5 x 2 cm.Réalisées en 1982signed in Greek and inscribed (both on the reverse)bronze(2)Footnotes:ExposéAthens, Zoumboulakis Galleries, Moralis, March 1983, no. 23 (illustrated in the exhibition catalogue). Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April 18 - June 5, 1988, no. 132 (listed in the exhibition catalogue, p. 68). LittératureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 730, p. 469 (illustrated).Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 156 (illustrated).Shown in S. Charalambopoulos, J. Moralis, documentary CD, Periplous editions, Athens 2005.Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 44 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Argos se plaignant auprès d' Hermès fusain et mine de plomb sur papier58 x 44cm (22 13/16 x 17 5/16in).Dessiné en 1962 charcoal and pencil on paperFootnotes:LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 794, pp. 334, 482 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

McKendrick (Scot) The History of Alexander the Great: An Illuminated manuscript of Vasco da Lucena's French Translation of the Ancient Text by Quintus Curtius Rufus, Los Angeles, 1996 § Garcia-Tejedor (C.M.) The Book of Hours of Joanna of Castile, Barcelona, 2005 § Dückers (R.) & others. The Hours of Catherine of Cleves: Devotion, Demons and Daily Life in the Fifteenth Century, Lucerne, 2009 § Corstanje (C. van) & others, editors. Vita Sanctae Coletae (1381-1447), Tielt & Leiden, 1982 § Horst (K. van der) & others, editors. The Utrecht Psalter in Medieval Art Picturing the Psalms of David, 1996 § Farquhar (J.D.) Creation and Imitation: The Work of a Fifteenth-Century Manuscript Illuminator, Fort Lauderdale, Fl., 1976 § Delaissé (L.M.J.) A Century of Dutch Manuscript Illumination, Berkeley & Los Angeles, 1968, illustrations, many colour, original cloth or boards, the first with slip-case, the rest dust-jackets; and 2 others on Flemish illuminated manuscripts, v.s. (9)

NO RESERVE Eastern Art & Architecture.- Ball (Katherine M.) Decorative Motives of Oriental Art, London & New York, 1927 § Clark (T.) & others. The Dawn of the Floating World 1650-1765: Early Ukiyo-e Treasures from the Museum of Fine Arts, Boston, 2002 § Zwerger (K.) Wood and Wood Joints: Building Traditions of Europe and Japan, Basel, 1997 § Gretchen (M.) Pastel Portraits: Singapore's Architectural Heritage, Singapore, 1985, illustrations, some colour, original cloth or boards, the first rubbed and stained, the rest with dust-jackets; and c.15 others on Eastern art & architecture, 4to & 8vo (c.20)

NO RESERVE Brown (John) Marjorie Fleming, plates, light spotting, bound in Arts & Crafts style russet morocco ruled in gilt with square floral corner-pieces and small circles in gilt, g.e., a little rubbed, upper cover slightly faded, Edinburgh, 1885 § Thornbury (W.) Two Centuries of Song, wood-engraved plates, text with decorative borders in brown, contemporary red morocco with elaborate border and central ornament in gilt, spine gilt, g.e., 1867 § Stowe (Harriet Beecher) Uncle Tom's Cabin, hinges weak, original grey-brown cloth stamped in blind, wear to spine ends, Thomas Bosworth, 1852 § Jerome (Jerome K.) Three Men in a Boat, original turquoise cloth, Bristol, 1889 § Harris (Frank) Undream'd of Shores, signed presentation copy from the author inscribed on front free endpaper, original cloth, stab-holes to upper cover, New York, 1924 § Gill (Eric) Art-Nonsense and other essays, ex-library copy, original blue buckram, uncut, 1929, rubbed; and a quantity of others, mostly literature, v.s. (c.100)

BOYD THOMAS.  Poems. Inscribed copy from the publisher to John Eglington, the pseudonym of W. K. Magee, librarian of the National Library of Ireland, about whom Joyce wrote his rhyme "There once was a Celtic librarian ...". Orig. brds. Dublin, 1906.

SCHIPHORST PAUL K.  The Golden Years of Tin Toy Trains. Many col. illus. Quarto. Orig. pict. cloth in slip case. 2002.

JOHNSON G. A. L. & DUNHAM K. C.  The Geology of Moor House. Illus. & diags. Orig. red cloth in d.w's. 1963; also Cumbrian Regional Report, 1932.  (2).

K. H. Ara (1914-1985) Indian, A still life of flowers in a vase in an interior, oil, signed, 13.5" x 9.25".

K&H 250 bisque head doll, circa 1910, with weighted brown glass eyes, painted lashes and brows, open mouth with upper teeth, and brown wig, on a fully jointed wood and composition body and wearing a blue corduroy dress, (condition: teeth replaced, repair to hands, body A/F), 22“ (56cm) tall.

A large Kammer & Reinhardt/S&H bisque head doll, German circa 1910, with weighted brown glass eyes, raised brows, open mouth with upper teeth and original brown wig, on a fully jointed wood and composition body, wearing a white broderie anglaise dress and knitted cardigan, socks and slippers, incised K&R, Simon & Halbig, 76, 30” (76cm) tall.

A vintage Singer hand operated sewing machine, model  99 k, serial no. EL602868; a 20th century oak folding card table.(2)

An 18ct gold white gold ring, size K, having a central pale blue sapphire stone surrounded by diamonds, total weight 3.3gLocation: Cab

A 9ct yellow gold ruby and diamond dress ring, set with 6 x round faceted rubies and 13 x small round brilliant cut diamonds, weighs 4.4 grams, finger size L. Together with a 9ct yellow gold dress ring set with a cushion cut red stone in a four claw setting, with 6 x princess cut stones channel set to each shoulder, weighs 3.7 grams, finger size K.

Addendum this is 9ct not 18ct.  A 9ct yellow gold diamond 'wishbone' ring, set with 9 x round brilliant cut diamonds in a channel setting, total weight of diamonds 0.25cts, I in colour SI in clarity, ring weighs 2.9 grams, finger size K.

LATE GEORGE II MAHOGANY LIBRARY BOOKCASE MID 18TH CENTURY the egg and dart moulded breakfront cornice above a pair of astragal glazed doors with arch moulded tops, flanked and divided by square pilasters; the lower part with hinged flap cupboards enclosing shelves, on a moulded plinth base(175cm wide, 290cm high, 29cm deep)Provenance: Cusworth Hall, Yorkshire Hollis & Webb, 14-23 October, 1952, Estate of the late Lady Isabella G. K. Battie-Wrightson, [one of] lots 565-568 Sotheby's New York, 28-29 October, 1988, Property of Claus van Bulow, Clarendon Court, Newport, Rhode Island Freeman's Auctioneers, Philadelphia, 20 September, 2007, lot 124Footnote: Note: Cusworth Hall is a Grade I listed Georgian Palladian country house near Doncaster in South Yorkshire. The house was built for William Wrightson in 1740-45. The house stayed with members of the Wrightson family until 1952, when the contents were put up for sale to meet death duties. The house was subsequently sold to Doncaster Council and today is a venue and museum. The present lot, one of four bookcases originally from the library wing, was sold in 1952 as one of lots 565-568.

Two shell cameo rings, both marked '9ct', gross wt. 5.01g, sizes K & M. Condition - good, minor wear only.

A group of three hallmarked 9ct gold rings, gross wt. 6.45g, sizes K, N & O (left to right). Condition - signet ring bent, ring with colourless stones a little worn.

A three stone diamond ring, the band marked '18ct PLAT', gross wt. 2.03g, size K. Condition - good, minor wear only.

A three stone diamond ring, marked 'PLAT 18ct', gross wt. 2.08g, size K. Condition - good, general wear only.

A mixed lot comprising a white metal wedding band marked '0750' wt. 2.24g size J/K, a hallmarked 15ct gold Masonic pendant wt.1.71g, together with three yellow metal pendants and a chain indistinctly marked.

A George V 1912 half sovereign ring, band unmarked, gross wt. 4.28g, size J/K. Condition - a little worn but appears undamaged.

A diamond solitaire ring, marked '18ct & PLAT', gross wt. 2.08g, size K.

A five stone opal ring, band unmarked 2.16g, size K. Condition - one stone chipped and another glued into setting, otherwise ok.

* Vintage cameras. Collection of vintage cameras including 1920s Ensign Cupid 120 camera by Houghton-Butcher, Carl Zeiss WERRA 35mm camera with Jena Tessar 50mm f/2.8 lens and leather case, Agfa Optima I 35mm camera with Agnar 45mm f/2.8 lens, 1950s Ferrania Ibis 6-6 camera with Prima 85mm lens, 1950s Ferrania Ibis 44 camera (127 film) with Acromatico 65mm f/7.7 lens, Halina 35X camera with Anastigmat 45mm f/3.5 lens, Fujica 35 Automagic camera with Fujinar-K 38mm f/3.4 lens, Agfa Isola 6x6 camera with Agnar 75mm f/6.3 lens, box and manual, together with a Panasonic Lumix DMC-TZ3 digital camera, a Canon Ixus 30 digital camera and a selection of vintage miscellaneous photographic and darkroom accessories, all untested and sold as seenQty: (a carton)

* Holmes (Randolph Bezzant, 1888-1973). A group of 15 platinum prints of the North West Frontier, c. 1920, photographer's name in the negatives, ink stamp to versos and most with neat ink captions, scenes include a camp at Sorarogha, plus many landscape views with scenes of construction, one image chipped at lower corners with some loss, 23 x 29.5 cm and similar, together with a regimental album containing 48 mounted and 6 loose photographs of Abbottabat, Sikandarah, etc., early 20th century, gelatin silver prints, some signed K. Lall and some [D.N.] Bali [Rawalpindi], various sizes, plus 14 group photographs and two 2-part panoramas (each 20.5 x 57 cm) mounted on rectos and versos of stiff card leaves or loose, many captioned in ink on mounts and dated circa 1904-06, images mostly 20.5 x 29 cm and smallerQty: (approx. 25)