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Tim Bavington Last Night 1, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence.   Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.  

Tim Bavington Last Night 2, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence.   Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.  

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

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

JohnnyX Please Don't Feed The Rich Screen Print on Vintage Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.  

JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 10 x 15cm (3¾ x 5¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.  

JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 10 x 15cm (3¾ x 5¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.  

JohnnyX Please Don't Feed The Rich, 2020 Screen Print on Vintage Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) Johnnyx is an artist based in Newcastle upon Tyne, he studied Art at Newcastle Bath Lane Art College and Duncan of Jordanstone College of Art. Often working experimentally, he explores paint and screen print processes looking to bring a deconstructional and subversive lens to modern cultural and political themes. Johnny's multimedia works marry social commentary and sloganeering with a visceral pop-art aesthetic, employing techniques of détournement and bricolage to create a textured, multi-layered information aesthetic.  

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

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

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

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

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

A reconstituted stone Art Nouveau style head and shoulder bust of a young woman with flowers woven into her hair. Height 46cm.Condition report: We can see no damage to this modern reproduction

William Roberts R.A. (British, 1895-1980)Women Playing with Cats signed 'William Roberts.' (lower left); titled 'Women Playing with Cats' (on the backboard)pencil, ink, watercolour and gouache29 x 20.3 cm. (11 3/8 x 8 in.)Executed circa 1919Footnotes:ProvenanceMichael A. Tachmindji, 1956With Hamet Gallery, London, 16 February 1971, where purchased by the mother of the present ownerPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, Wyndham Lewis and Vorticism, organised by Arts Council of Great Britain, 5 July-19 August 1956, cat.no.72 (as Drawing 1913); this exhibition travelled to, Manchester, City Art Gallery, 1-22 September, Glasgow, Kelvingrove Art Gallery and Museum, 29 September-20 October, Bristol, City Art Gallery, 27 October-17 November and Leeds, City Art Gallery, 25 November-15 DecemberLondon, Hamet Gallery, William Roberts: A Retrospective Exhibition, 16 February-13 March 1971, cat.no.9Printed here in colour for the first time ever, over one hundred years after its execution by William Roberts, probably circa 1919, the remarkable and dynamic Women Playing with Cats is testament to the artist's affiliation with Vorticism and his close acquaintance with both Percy Wyndham Lewis and David Bomberg.Accompanied by prestigious exhibition history at Tate's 1956 show, Wyndham Lewis and Vorticism, their gallery label attached on the backboard dates the work to 1913; reiterated again on the Hamet Gallery label. Stylistically, however, this mesmerising and sophisticated work on paper is more in keeping with Roberts' work produced directly following World War I, which was still firmly grounded in Vorticism. A date of circa 1919 has been proposed by David Cleall who compiled the artist's Catalogue Raisonné, available online only at: www.englishcubist.co.uk. Certainly, when one considers his two canvases The Diners and The Dancers of 1919 (Tate collection and Glasgow Museums: Art Gallery & Museum, Kelvingrove, respectively), designed as part of a three-panel work to be situated in the bohemian Hôtel de la Tour Eiffel on Percy Street in Fitzrovia, the revised dating seems entirely accurate.During the spring of 1914 Lewis visited Roberts at home in Cumberland Market, on the edge of Regent's Park, where a small artistic community flourished. Roberts had only left The Slade in the summer of 1913, and following a trip to France, taking in Paris, had already begun to experiment with incorporating Cubist elements into his work; The Return of Ulysses (Castle Museum and Art Gallery, Nottingham) and The Toe Dancer (Victoria & Albert Museum, London) are two of the finest examples. The story of Lewis leaving Cumberland Market with two of Roberts' Cubist paintings, The Dancers and Religion, now both sadly presumed destroyed or lost, is well known. He returned with these to his Great Ormond Street studio where the recently established Rebel Art Centre was founded. Andrew Gibbon Williams comments, 'Lewis had come to view the visual arts as merely one element in a larger cultural war that might overturn all the tired nostrums, prejudices and conventions that persisted into the new century from Victorian times. For him, art possessed the potential to transform society itself; the entirety of Western culture needed to be wrenched out of the doldrums of bourgeois passivity and forced to correspond with the new violent age of the machine.' (Andrew Gibbon Williams, William Roberts, An English Cubist, Lund Humphries, Aldershot, p.23). With the partnership of the American writer and poet Ezra Pound, Lewis announced Vorticism (named by Pound) with the publication in July 1914 of a small magazine entitled BLAST: The Review of the Great English Vortex. Dancers and Religion by Roberts were both illustrated alongside images by Sir Jacob Epstein and Edward Wadsworth, among others.With Women Playing with Cats Roberts draws on the abstract pictorial language laid down by Lewis in key works from the period 1913-1915, such as Composition (Tate collection) and Plan of War (lost). The emphasis on highly stylised geometric forms, overlapping angular shapes used to distort reality and the dramatic use of black and white superimposed over rusty-brown all point to Roberts' engagement with Vorticism's main visual protagonist, prior to him being called up for active service in April 1916. Whereas the faces, in particular, reference the new machine age with their simplicity and clean lines, and in the central standing figure's head we are specifically reminded of Sir Jacob Epstein's seminal Torso in Metal from 'The Rock Drill', 1913-15 (Tate collection).During Roberts' time at The Slade his friendship with David Bomberg, a fellow student, developed. Five years older, Bomberg played a significant role in guiding Roberts' aesthetic. As Gibbon Williams notes, 'It was Bomberg who was largely responsible for converting Roberts to the philosophy of modern art and Roberts himself paid tribute to his friend on this account in a fine example of his mastery of understatement: 'an additional stimulant to my interest in abstract art was the example of David Bomberg, a friend and fellow student''(op. cit. p.16). Both artists visited Paris during the summer of 1913 at a time when Bomberg began to produce some of the most radical abstract work of his entire career, inspired by the European avant-garde. The celebrated paintings of Ju-Jitsu (Tate collection) and In the Hold (Tate collection) acted as a prologue to his early masterpiece The Mud Bath of 1914 (Tate collection). The complexity of these compositions with the interplay of limbs and their optical energy were the most audacious and forward-thinking paintings produced by any British artist during this period of enormous change. Roberts did not escape their massive impact, and when one considers Women Playing with Cats and its fragmented, dazzling use of black ink and bare paper to describe the subjects, Bomberg's daring pre-war imagery is among the first to spring to mind.Another of Robert's contemporaries from The Slade, Edward Wadsworth, also played a fundamental role in Vorticism. But much like Roberts, the outbreak of war seriously disrupted his creative momentum. By 1915 Wadsworth joined the Royal Navy Volunteer Reserve and a year later was serving as an Intelligence Officer on Lemnos, Greece. By 1917 the Admiralty had embraced the idea put forward by the artist Norman Wilkinson of camouflaging its ships with boldly painted, dazzling designs which not only created an optical distortion of the shape of the vessel, but also confused the German enemy of its speed and angle, thus making it a far more difficult target for submarines. Later based in Liverpool docks, Wadsworth oversaw the transposition of the designs onto the ships themselves and then produced a small series of works which depicted them; a striking woodcut, Liverpool Shipping of 1918 (see fig.1) was used as a basis for his 1919 Dazzle-Ships in Dry Dock at Liverpool (National Gallery of Canada, Ottawa) commissioned by the Canadian War Memorials Fund and arguably Wadsworth's greatest picture. Roberts, too, was commissioned by the Canadians, and The First German Gas Attack at Ypres also of 1918 (National Gallery of Canada, Ottawa) was, like Wadsworth's, noticeably more naturalistic and descriptive than their abstracted pre-war creations, owing to the commission's strict orders which included having nothing 'Cubistic' about them.Women Playing with Cats continues this effective and appealing mix of realism with the principles of Vorticism, making for an accessible yet arresting image. When the eyes become almost hypnotised and a little confused by the bravura design of the five black and white figures and two cats, which are thru... 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

David Jones C.H., C.B.E. (British, 1895-1974)Petra signed and dated 'David J 32' (lower right)pencil and watercolour77 x 55.9 cm. (30 1/4 x 22 in.)Footnotes:ProvenanceThe Artist, from whom acquired byHelen Sutherland, by whom bequeathed toPrviate Collection, U.K.Their sale; Christie's, London, 26 June 2014, lot 109, where acquired byLady DugdaleExhibited Aberystwyth, National Library of Wales, David Jones: Paintings, Drawings and Engravings, 24 July-21 August 1954; this exhibition travelled to Cardiff, National Museum of Wales, August-September, Swansea, Glynn Vivian Art Gallery, October, Edinburgh, Diploma Galleries, Royal Scottish Academy, November-December and London, Tate Gallery, December-January 1955Edinburgh, Scottish National Gallery of Modern Art, Paintings and Drawings from the Private Collection of Miss Helen Sutherland, 24 March-13 May 1962, cat.no.14London, Hayward Gallery, Helen Sutherland Collection: A Pioneer Collection of the 1930s, organised by Arts Council of Great Britain, 10 December 1970-10 January 1971, cat.no.24; this exhibition travelled to Newcastle, Laing Art Gallery, 23 January-14 February, Cambridge, Kettle's Yard, 20 February-14 March, Cardiff, National Museum of Wales, 20 March-11 April and Kendal, Abbot Hall Art Gallery, 1-23 May 1971London, Tate Gallery, David Jones, 21 July-6 September 1981, cat.no.96Bristol, City Museum and Art Gallery, David Jones: Paintings, Drawings, Inscriptions, Prints, organised by Arts Council of Great Britain, 4 March-8 April 1989, cat.no.31; this exhibition travelled to Leeds, City Art Gallery, April-May, Cambridge, Kettle's Yard, June-July, and Llandudno, Oriel Mostyn, July-August 1989LiteratureRobin Ironside and Kenneth Clarke, The Penguin Modern Painters: David Jones, Penguin Books, London, 1949, pl.21 (col.ill.)Nicolete Gray, The Paintings of David Jones, Lund Humphries, London, 1989, pl.24 (ill.)Johnathan Miles and Derek Shiel, David Jones, The Maker Unmade, Bridgend, 2003, p.153, no.5 (ill.)Thomas Dilworth, David Jones, Engraver, Soldier, Painter, Poet, Jonathan Cape, London, 2017, p.158 (col.ill.) (as The Seated Mother)Born in 1906, Petra was the second daughter of artist Eric Gill. She modelled for several of her father's drawings and engravings, including Girl in the Bath and The Plait. Following his studies in London, the young David Jones moved to Ditchling, Sussex in 1921 to apprentice under Gill. Three years later Jones would follow Gill when he moved to Capel-y-ffin in the Welsh Black Mountains and there, in June, he became engaged to Petra. Jones marked the occasion by painting one of his most celebrated works - The Garden Enclosed (Tate, London). However, the engagement did not last. Petra broke it off in 1927 and later she married fellow craftsman Denis Tegetmeier. In the early 1930s Jones painted several depictions of his former fiancé, employing her image to represent an archetype for feminine beauty. These include Petra im Rosenhag (1931, National Museum of Wales, Cardiff) and the present example, which is also known as The Seated Mother. This is understood to be Jones's final portrait of Petra and the last picture he would paint for several years, as shortly after its completion he suffered a nervous breakdown. The work was bought by the notable patron Helen Sutherland. Later the poet Kathleen Raine would recall that she observed Jones propping the picture against a chair in Sutherland's drawing room with a gaze Raine described as 'unforgettable... pondering sweetness'.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

Sheila Fell R.A. (British, 1931-1979)Potato Harvesting, Cumberland signed 'Fell' (lower right)oil on canvas50.5 x 60.5 cm. (19 7/8 x 23 7/8 in.)Footnotes:ProvenanceWith New Grafton Gallery, LondonPrivate Collection, U.S.A.We are grateful to Professor Andrew Bradley for his assistance in cataloguing this lot. Professor Andrew Bradley is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Professor Andrew Bradley, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street London W1S 1SR or email britart@bonhams.comThis 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

Sheila Fell R.A. (British, 1931-1979)Haystacks in Winter signed 'FELL' (lower right); further signed and titled 'HAYSTACKS IN WINTER/Sheila Fell' (on a label attached to the stretcher)oil on canvas101.7 x 127 cm. (40 x 50 in.)Painted in 1961-2Footnotes:ProvenanceSir Stephen Timothy Beilby Forbes Adam, circa 1960, thence by family descentPrivate Collection, U.K.ExhibitedMiddlesbrough, Municipal Art Gallery, Paintings and Drawings by Sheila Fell, 28 April-26 May 1962, cat.no.6LiteratureCate Haste, Sheila Fell: A Passion for Paint, Lund Humphries, Farnham, 2010, p.68, pl.57 (col.ill)'In Haystacks in Winter the lines are flowing, the snow luminous, and the shapes in warmer tones of rich orange-browns are rounded, humped and almost animate under a menacing, turbulent sky' (Cate Haste, Sheila Fell: A Passion for Paint, Lund Humphries, Farnham, 2010, p.67)We are grateful to Professor Andrew Bradley for his assistance in cataloguing this lot. Professor Andrew Bradley is currently preparing the forthcoming catalogue raisonné of the Artist's work and would like to hear from owners of any work by the Artist so that these can be included in this comprehensive catalogue. Please write to Professor Andrew Bradley, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street London W1S 1SR or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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

EDMUND THORNTON CRAWFORD RSA RSW (SCOTTISH 1806 - 1885), ON THE FARM oil on canvas, signed 46cm x 61cm Framed Note: Crawford was a landscape and marine painter, born at Cowden, near Dalkeith, in 1806. He was the son of a land surveyor, and when a boy was apprenticed to a house-painter in Edinburgh. He entered the Trustees' Academy under Andrew Wilson, where he had fellow-students David Octavius Hill and Robert Scott Lauder. William Simpson, who was one of the older students, became a close friend. Crawford's early paintings were exhibited in the Royal Institution, and his first contributions to the annual exhibition of the Royal Scottish Academy appeared in 1831, two of these being taken from lowland scenery in Scotland, and the third being the portrait of a lady. Although not one of the founders of the Academy, Crawford was one of its earliest elected members. His name appears in the original list of associates, but having withdrawn from the body before its first exhibition, it was not until 1839 that he became an associate. Meanwhile he visited Holland for the first of what would be several times. He studied the Dutch masters, whose influence in forming his picturesque style was seen in nearly everything he painted. Despite acclaim and commercial success it was 1848 before he was elected a full academician. In the same year he produced his first great picture, ‘Eyemouth Harbour,’ which he rapidly followed up with other works of high quality which established his reputation as one of the greatest masters of landscape-painting in Scotland. Among these were a ‘View on the Meuse,’ ‘A Fresh Breeze,’ ‘River Scene and Shipping, Holland,’ ‘Dutch Market Boats,’ ‘French Fishing Luggers,’ ‘Whitby, Yorkshire,’ and ‘Hartlepool Harbour.’ He also painted in watercolours, usually working on light brown crayon paper, and using body-colour freely. The only picture he contributed to a London exhibition was a ‘View of the Port and Fortifications of Callao, and Capture of the Spanish Frigate Esmeralda,’ at the Royal Academy in 1836. The characteristics of his art are the old school of Scottish landscape-painting. This was not so realistic in detail as the modern school, but was perhaps wider in its grasp, and strove to give impressions of nature rather than the literal truth. In 1858 Crawford left Edinburgh and settled at Lasswade, but he continued to contribute regularly to the annual exhibitions of the Academy until 1877, maintaining to the last the high position he had gained early in life. He was at one time a keen sportsman with both rod and gun. He died at Lasswade 27 Sept. 1885, ‘Coast Scene, North Berwick,’ and ‘Close Hauled; Crossing the Bar,’ by him, are in the permanent collection of the National Gallery of Scotland and a further nineteen works are held in UK public collections.

Yiannis Tsarouchis (Greek, 1910-1989)Woman from Salamis/ Koulouriotissa signed in Greek and dated '34' (upper right)oil on canvas laid on panel 46 x 25 cm.Painted in 1934.Footnotes:ProvenancePrivate collection, Athens.ExhibitedAthens, The British Council, Exhibition Yannis Tsarouchis 1932-1952, February 17-29, 1952, no. 13 (possibly).LiteratureE. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, vol. 1, p. 38-39 (discussed), p. 215 (catalogued), vol. 2, fig. 129 (illustrated).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1989, no. 140, p. 18 (mentioned), p. 21 (discussed), p. 19, fig. 16 (illustrated).Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 48 (illustrated).Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv (discussed).A work that marks a turning point in Tsarouchis's career, as noted by the artist himself,1 Woman from Salamis conveys a striking immediacy and resilient allure. Broad planes of earthy colours highlighted by solid outlines and supplemented by highly stylised motifs, such as the clouds and the sun, build up a solid edifice of pure form, stretching beyond the confines of the transient and perfectly matching the young maiden's silent inflexibility and hieratic posture. We are reminded of Byzantine icons, Fayum portraits, Theofilos, and Kontoglou, the leading advocate for the revival of the Byzantine pictorial tradition, under whom Tsarouchis apprenticed for four years.As noted by former Benaki Museum Director M. Hadjidakis, in Tsarouchis's hands, human form takes on a monumental quality. Lightly modelled, his subjects fill the picture and are elevated to a symbolic type full of dignity and grandeur,2 capturing the genuineness of character which is the lifeblood of the Modern Greek spirit.Ever since his early childhood, Tsarouchis was enchanted by traditional local costumes from around Greece. His fascination was further heightened following his acquaintance with Angeliki Hadjimichali, Elli Papadimitriou and Eva Palmer-Sikelianou and was filtered through Kontoglou's passion for Byzantine art. He was not only interested in the art form but also in the techniques involved. He knew how to weave, cut and sew, as well as take patterns from folk clothing. Unfortunately, his entire archive of dress designs and costume details was destroyed during the German Occupation.31 Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, no. 48, p. iv.2 M. Hadjidakis, 'Some Aspects of Modern Greek Art' in Perspective of Greece, an Atlantic Monthly Supplement, Intercultural Publications, New York 1955, p. 33.3 M. Karavia, The Thinker of Marousi, Memories and Conversations with Yannis Tsarouchis [in Greek], Kapon editions Athens 2009, p. 74.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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

Yiannis Tsarouchis (Greek, 1910-1989)Portrait of a Young Man signed in greek and dated '16-10-66' (upper left) oil on canvas47 x 38 cm. Painted in 1966.Footnotes:ExhibitedThessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 94 (illustrated in the exhibition catalogue, p. 175).Distilled with marvellous restraint, this captivating portrait of a young Greek male epitomizes the artist's signature subject. Impeccably painted in earthy colours, highlighted by solid outlines, and handled with confident brushwork, the work conveys a sense of immediacy and presence, distantly echoing Gysis's psychologically acute portraits. The honesty of representation, genuineness of character and purity of form give this portrait its power and directness, impelling the viewer to scratch beyond the veneer to seek the inner world of the young Greek. As noted by D. Kapetanakis, 'Tsarouchis managed, with the wisdom of his art, to elevate a model posing in his studio into a symbol of the Modern Greek spirit.'1 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'in Tsarouchis's work, the human figure managed to survive three sins: the primordial, the academic and the 'modern'. With the latter one I mean modern art's iconoclastic crusade, which never tired to demolish, distort or expel the human form. Tsarouchis did not give in to this negative aesthetic theory which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious human figure.'2 1 D. Kapetanakis, Yiannis Tsarouchis, Return to Roots, Nea Grammata magazine, 1937.2 M. Lambraki-Plaka, 'Yannis Tsarouchis, the Icon and the Work' [in Greek], Lexi magazine, no. 73, March-April 1988, p. 229. See also Osei Myra, Yannis Tsarouchis 1910-1989 [in Greek], Kastaniotis editions, Athens 1998, p. 452. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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

Alecos Fassianos (Greek, born 1935)Le futur marié signed and dated 'A. Fassianos 68' (upper right) and titled (upper left)acrylic on canvas100 x 81 cm. Footnotes:ExhibitedRhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 30-31).Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works, 2009 (illustrated in the exhibition catalogue, pp. 26-27).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Alecos Fassianos (Greek, born 1935)Mother and child signed in Greek (upper left)oil on paper laid on canvas100 x 69 cm.Painted in c. 1973.Footnotes:ExhibitedRhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 76-77).Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown, 2009 (illustrated in the exhibition catalogue, p. 15, pp. 58-59).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yannis Gaïtis (Greek, 1923-1984)Medaillon noir painted wooden construction in carved frame by the artist102 x 72 cm ( in oval shape).Painted in 1977.Footnotes:ProvenancePrivate collection, Thessaloniki.. ExhibitedSkopje, Gaitis, Museum of Modern Art, January 10-25, 1978.Belgrade, Yannis Gaitis, Museum of Modern Art, March 3-19, 1978.Athens, National Gallery - Alexandros Soutsos Museum, Yannis Gaitis, July 16 - September 30, 1984.Athens, Epikentro Contemporary Art Gallery, Yannis Gaitis, April 3-30, 1996.Thessaloniki, Lola Nikolaou Gallery (in cooperation with the Epikentro Contemporary Art Gallery in Athens), Yannis Gaitis, January 19 - February 7, 1998.LiteratureYannis Gaitis, Catalogue Raisonné, Ioannis F. Costopoulos Foundation, Athens 2003, no. 1349, p. 315 (illustrated).D. Zacharopoulos, Yannis Gaitis, The Subversive, Ta Nea editions, Athens 2009, p. 99 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Georgios Bouzianis (Greek, 1885-1959)Mänlicher Kopf signed Jo Bouzianis (lower right) and titled and signed on the pass-par-tout watercolor on paper 44 x 30 cm. Footnotes:Painted c. 1913-1915.ExhibitedAthens, Bouzianis House Museum - Bouzianis Cultural Centre, Bouzianis Returns Home, October 4-31, 2010 (illustrated in the exhibition catalogue, p. 17).Thessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 77 (illustrated in the exhibition catalogue, p. 104).LiteratureD. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 1 (additional catalogue entry), p. 313 (catalogued), 69 (illustrated).Newspaper clipping, c. 1990s (illustrated).'Bouzianis's watercolours confirm his status as one of the greatest artists of his time.' - Dr. H. Hofmann, 1928.1Invested with the lightness of watercolour and painted with a directness that immediately captures the eye, this brilliant self-portrait of fluid colour and evocative form sings a Mediterranean, Grecian song, full of sun and golden light.2 Reviewing the 1932 exhibition of Bouzianis's watercolours at the Barchfeld gallery in Leipzig, art critic M. Schwimmer remarked: 'Employing the most frugal means, the artist conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner,'3 while in an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted: 'Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art.'4 As noted by Professor D. Deliyannis, who prepared the artist's monograph, 'Bouzianis's portraits are by no means static. A slight differentiation in the rendering of the eyes suffices to suggest the sitter's active presence. One of the key characteristics of Bouzianis' portraiture is the frontal pose. That's why he pays close attention to the depiction of the eyes. His insistence on frontality is not of minor import. He breaks away from ancient Greek portraiture, while retaining a close relationship with the Byzantine style.'5 Indeed, the frontality of the portrait, set against a barren background, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint. 1 H. Hofmann, Leipziger Abendost daily, September 6, 1928.2 See C.S. Spencer, 'George Bousianis', Studio magazine, vol. 159, no. 806, June 1960, p. 206.3 MS, Leipziger Volkszeitung daily, December 23, 1932.4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.5 D. Deliyannis, Bouzianis [in Greek], Athens 1996, pp. 38, 39.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

DALÍ, SALVADOR DALÍ, SALVADOR El Cristo de San Juan de la Cruz. Um 1980. 750/- Gelbgold, Punze, Gesamtgewicht: ca. 16,0 g. Länge 42,0 cm. Nach dem 1950 geschaffenem gleichnamigen Werk von Salvador Dali. Eine handgearbeitete Kette, die in der von Dali geschaffenen Original-Form gegossen wurde. Am Verschluss signiert und nummeriert "Dali D-73/1000". Garantiekarte anbei. Salvador Dalí Spanien Surrealismus Moderne Kunst Schmuck El Cristo de San Juan de la Cruz 1980er Collier Gelbgold Spanien Erläuterungen zum Katalog DALÍ, SALVADOR El Cristo de San Juan de la Cruz. DALÍ, SALVADOR Figueras/Spain 1904 - 1989 El Cristo de San Juan de la Cruz. Ca. 1980. 750/- yellow gold, with mark, total weight: ca. 16,0 g. Length 42,0. After the 1950 created work of the same name by Salvador Dali. A hand worked necklace, cast after Dali's original shape. Signed at the clasp and numbered "Dali D-73/1000". Guarantee card enclosed. Explanations to the Catalogue Salvador Dalí Spain Surrealism Modern Art Jewellery 1980s Necklace Yellow gold Spain

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

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

PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. China. Qing-Dynastie. Datierung: 18.-19. Jh. Technik: Seidenstickerei auf Satin. Auf modernem Seidengewebe aufgenäht. Beschreibung: Die beiden Stickereien zeigen Gebirgslandschaften mit Bogenbrücken, Pagode und Pavillons mit Gelehrten. Jeweils ein Titel mit vier Zeichen: "Im Frühling erwärmt sich das Wasser der Flüsse", "Dichten unter dem Mond im lichten Hain". Maße: Stickerei jeweils ca. 139x34cm. Marke: Auf einem kleinen Stoffstreifen an einem der Bilder: "Stellschirm mit Berg- und Wasserlandschaften". Hinter Glas in vergoldeten Rahmen (jeweils 164x50cm)China Erläuterungen zum Katalog Asiatika - China Kunsthandwerk 18./19. Jahrhundert Seide Textil China PAAR GESTICKTE LANDSCHAFTSBILDER AUS EINEM STELLSCHIRM. PAIR OF EMBROIDERED LANDSCAPE IMAGES FROM A FOLDING SCREEN. China. Qing dynasty. Date: 18th-19th c. Technique: Silk embroidery on satin. Sewn on modern silk fabric. Description: The two embroideries show mountain landscapes with arched bridges, a pagoda and pavilions with scholars. On each one a title with four characters: "In Spring the Water of the Rivers is Warming up", "Making Poems Beneath the Moon in a Light Grove". Measurement: Embroidery each ca. 139x34cm. Mark: On a small fabric stripe at one of the pictures: "Folding screen with mountain and water landscapes". Behind glass mounted in a gilt frame (each 164x50cm)China Explanations to the Catalogue Asian Art - Chinese Applied Arts 18th/19th century Silk Textile China

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

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

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

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

Henry John Sylvester Stannard, Ländliche IdylleSchäfer mit Schafherde und Hühnern am frühlingshaften Dorfrand, stimmungsvolle, pastorale Landschaftsmalerei in lichter Farbigkeit, Aquarell, 1. Hälfte 20. Jh., links unten ligiert signiert "H. Sylvester Stannard" und bezeichnet "RBA [Abkürzung für: Royal Society of British Artists, dt.: Königliche Gesellschaft Britischer Künstler]", rückseitig posthumes Etikett mit Infos zum Künstler, gering geblichen, lichtrandig und fleckig, sehr schön hinter Glas im Goldstuckrahmen gerahmt, Falzmaße ca. 45 x 92 cm. Künstlerinfo: eigentlich Henry John Stannard, wurde als Künstler unter den Namen Sylvester Stannard bekannt, britischer Aquarellist und Erfinder (1870 London bis 1951 Bedford), Spross einer bedeutenden Künstlerfamilie aus Bedford/Bedfordshire in England, Schüler der Bedford Modern School und der Nationalen Kunstschule South Kensington, 1896 Aufnahme in die Royal Society of British Artists, gefördert von der britischen Königsfamilie (Queen Alexandra von Dänemark, Queen Mary von Teck und Prinz Edward, Herzog von Windsor), beschickte Ausstellungen in der Royal Academy, im Royal Institute of Painters in Water Colors, in der Royal Society of British Artists und der Royal Cambrian Academy of Art, Mitglied der Royal Society of Arts, tätig in Bedford, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon" und britische Wikipedia.

Karl Gerstner, Konkrete Kompositionverschiedenfarbige, sich überlappende teiltransparente Flächen auf dunkelblauem Grund, Farbsiebdruck, um 1975, in Blei signiert und nummeriert „Gerstner 151-175“, links unten in der Ecke Prägestempel, hinter Glas gerahmt, Falzmaße ca. 80 x 80 cm. Künstlerinfo: schweizerischer Graphikdesigner (1930 Basel bis 2017 Basel), Besuch der Allgemeinen Gewerbeschule in Basel bei Emil Ruder, 1959 Gründung der Werbeagentur Gerstner + Kutter, aus der 1962 die Werbeagentur GGK (sie war eine der erfolgreichsten Werbeagenturen Europas) hervorging, 1964 Teilnahme an der documenta 3 und 4, nach dem Rückzug aus dem Werbegeschäft war er für verschiedene Verlage tätig, 1973 Ausstellung im Museum of modern Art, seit 1991 werden Teile seiner Kunstsammlung im Museum Weserburg in Bremen gezeigt, seit 2006 befindet sich sein Archiv im Bestand der Schweizerischen Nationalbibliothek, Quelle: Kürschners Grafikerhandbuch und Wikipedia.

Karl Gerstner, Konkrete Kompositionverschiedenfarbige, sich überlappende teiltransparente Flächen auf dunkelblauem Grund, Farbsiebdruck, um 1975, in Blei signiert und nummeriert „Gerstner 163-175“, links unten in der Ecke Prägestempel, hinter Glas gerahmt, Falzmaße ca. 80 x 80 cm. Künstlerinfo: schweizerischer Graphikdesigner (1930 Basel bis 2017 Basel), Besuch der Allgemeinen Gewerbeschule in Basel bei Emil Ruder, 1959 Gründung der Werbeagentur Gerstner + Kutter, aus der 1962 die Werbeagentur GGK (sie war eine der erfolgreichsten Werbeagenturen Europas) hervorging, 1964 Teilnahme an der documenta 3 und 4, nach dem Rückzug aus dem Werbegeschäft war er für verschiedene Verlage tätig, 1973 Ausstellung im Museum of modern Art, seit 1991 werden Teile seiner Kunstsammlung im Museum Weserburg in Bremen gezeigt, seit 2006 befindet sich sein Archiv im Bestand der Schweizerischen Nationalbibliothek, Quelle: Kürschners Grafikerhandbuch und Wikipedia.

Peter Behrens seltene KanneWesterwald, um 1903, geprägtes Künstlermonogramm, Herstellermarke Westerwald Art Pottery für Reinhold Hanke Höhr-Grenzhausen, Modellnr. 2147, grün eingefärbtes Feinsteinzeug, kobaltblau bemalt und farblos glasiert, geometrische Motive im Rapport, flacher Bandhenkel mit halbrundem oberen Abschluss und verlaufender Seitenkante, ebenfalls konischer Deckel mit Kugelabschluss, sehr guter unbeschädigter Zustand, H 22 cm. Künstlerinfo: Peter Behrens (1868 in Hamburg bis 1940 Berlin), deutscher Architekt, Maler, Designer und Typograf, der als Pionier des modernen Industriedesigns gilt, wurde zum Vorreiter der sachlichen Architektur und des Industriedesigns, Mitbegründer des Deutschen Werkbundes, gilt als Erfinder des Corporate Design, leitete das Architekturbüro, welches Architekten wie Walter Gropius, Ludwig Mies van der Rohe und Le Corbusier zur Berühmtheit verhalf. Quelle: Wikipedia. Peter Behrens rare Westerwald Jugaround 1903, embossed artist's monogram, manufacturer's mark Westerwald Art Pottery for Reinhold Hanke Höhr-Grenzhausen, model no. 2147, green-colored porcelain stoneware, painted cobalt blue and glazed colorless, geometric motifs in repeat, flat strap handle with a semicircular upper end and run away side edge, also conical lid with spherical end, very good undamaged condition, height 22 cm. Artist information: Peter Behrens (1868 in Hamburg to 1940 Berlin), German architect, painter, designer and typographer, who is considered a pioneer of modern industrial design, became a pioneer of objective architecture and industrial design, co-founder of the Deutscher Werkbund, is considered the inventor of corporate Design, headed the architecture office, which made architects like Walter Gropius, Ludwig Mies van der Rohe and Le Corbusier famous. Source: Wikipedia.

POSTCARDS, mainly modern selection, inc. many adverts, views, art, coastal, maps, railway, London, military, multi-views, a few overseas, a few extra-large etc., in modern albums and loose, G to VG, Qty.

MIXED, large, mainly complete sets, inc. Typhoo long (7), Shakespeare, Wild Flowers, Horses, Interesting Events; Players, Wildfowl, Old Naval Prints; Hill Views of Interest, Wills Kings Art Treasure, ; Carreras Regalia etc., duplication, in modern album, about G to EX, 335*

THREE BOXES OF BOOKS, CD'S AND DVD'S etc, book subjects include Biographies, Auto Biographies, Art, History and modern Fiction, Cd's Frank Sinatra, Duke Ellington, Dean Martin etc, DVD's Opera, Classical etc

AN EDWARDIAN ART NOUVEAU MAHOGANY PURDONIUM, together with a circular oak occasional table, barley twist table, modern mahogany coffee table, open bookcase and a commode (sd) (6)

Don Balke (North Carolina, B. 1933) "Black-tailed Deer and Douglas Fir" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States. A Black-tailed Deer, a small cousin of the Mule Deer bounds away, his dark tail saluting the air in a graceful truce sign that displays the tail's white underside. All Black-tailed Deer can be identified by their ebony tails, dark coats and slight build. Even a mature deer usually weighs no more than one hundred fifty pounds. This artwork depicts an Oregon Black-tailed Deer browsing among towering stands of the state tree, the Douglas Fir. Ordinarily vegetarians, Black-tailed Deer feed primarily on leaves, making them one of the few families of browsers. As browsers, deer do not compete with cattle or other domestic animals for grazing land, a factor which encourages their abundant existence in the United States. At last count more than 400,000 Black-tailed Deer populated the heavily forested Pacific states. These modern deer look very different from their primitive ancestors. In ancient times, deer were only as big as domestic cats, and as weapons they used long, saber-like teeth instead of antlers. These small mammals migrated across the glacial land bridge from Asia to America during the Ice Age. When oceans later covered the land bridge, the isolated deer in North America adapted to their new environment. Today seven separate species of deer live in the United States. Image Size: 12 x 13.75 in. Overall Size: 20.25 x 23 in. Unframed. (B05792)

Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color Lithograph. Numbered (37/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.

100 AD or later. Roman-style. Rectangular Roman-style marble head and torso of a youth with two-tiered curling locks, simple, boyish features, a thick neck and prominent pectoral muscles. The hairstyle is suggestive of the god Apollo, the Graeco-Roman deity of archery, music and dance, truth and prophecy, healing and diseases, poetry, the Sun and light. Apollo is the son of Zeus and Leto, and twin brother of Artemis, goddess of the hunt. Commonly depicted in antiquity, he remained an important figure in European art, especially in the renaissance and early modern period. N.B. this piece may be either of Roman, renaissance or later date. Good condition.Size: L:250mm / W:205mm ; 3.8 kg; Provenance: From an old British collection formed in the 1990s;

C. 1526 - 1857 AD. Mughal Empire. An iron Katar dagger or knuckleduster comprising a two-part, bulging grip with guard and leaf-shaped blade with a prominent central midrib. The katar or katara is characterized by its H-shaped horizontal hand grip which results in the blade sitting above the user's knuckles, allowing for maximal force to be applied through the point. The Mughal Empire was an early-modern empire in South Asia stretching from the Indus basin to northern Afghanistan, Kashmir, the highlands of Assam and Bangladesh to the Deccan plateau in south India. During its expansion the Mughal military used a variety of weapons including swords, spears, bows and arrows, cannons, muskets and flintlock blunderbusses as well as knuckledusters like this example. Superb condition; on a custom-made stand. Size: L:460mm / W:72mm ; 320g; Provenance: Obtained from a B.F; previously in a collection formed in the 1990s on the UK art market.

c. 900-1110 AD. Viking Age. Gold ring comprising a circular hoop with ribbed shoulders and a double plate bezel. The bezel plates, which are slightly convex and oval in form, are each decorated with a raised central rib flanked by two rows of stamped dots; each rib ends in trumpet-shaped terminal topped by a sphere. This beautiful item would probably once have adorned the hand of a Viking noble.In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.XRF certificate with full report will accompany this lot. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Excellent condition; wearable.Size: D: 18.35mm / US: 8 1/4 / UK: Q 1/2; 8.51g; Provenance: Obtained on the London art market in the early 2000s; formerly from the collection of an English Family, by descents form the 1970s.

1100-1300 AD. Byzantine. Gold ring with niello details comprising round hoop with Greek lettering and rosette-shaped plate bezel, depicting Christ with long hair and beard, flanked by the Greek letters “TAG†(AG = Agios, “holyâ€). Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the royalty and aristocracy, or in bronze for people further down the social ladder. This beautiful item may have belonged to a member of the nobility. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.XRF certificate with full report will accompany this lot. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Excellent condition; wearable.Size: D: 15.8mm / US: 5 1/8 / UK: K; 7g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed before 2000.

900-600 BC. Etruscan. Beautiful bronze bowl with out-turned rim, conical body, and flattened bottom. Rows of horizontal line decoration run around the exterior below the rim. The Etruscans were an Italic people who occupied the area of modern Tuscany and neighbouring regions in Italy in the pre-Roman period, before coming into conflict and eventually being conquered by Rome. Bowls such as this one would have been used by the Etruscans both for serving food in domestic contexts and in making offerings to the gods during ceremonial occasions. Excellent condition; beautiful patina; on a custom stand. Size: L:75mm / W:210mm ; 615g; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

c. 900-1100 AD. Viking Age. Twisted gold ring comprising of circular hoop separating at the shoulders into three, interwoven strands. This ring was intended to evoke the form of a snake. In Norse mythology, Jormungand (pronounced “YOUR-mun-gand;†Old Norse Jörmungandr, “Great Beastâ€), also called the “Midgard Serpent,†is a snake or dragon who lives in the ocean that surrounds Midgard, the visible world. He was so enormous that his body forms a circle around the entirety of Midgard. He is one of the three children of Loki and the giantess Angrboda, along with Hel and Fenrir. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.XRF certificate with full report will accompany this lot.All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Excellent condition; wearable. Size: D: 16.51mm / US: 6 / UK: M; 13.55g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1970s.

1100-1300 AD. Byzantine. Gold cross with four round-section arms of equal length set around a garnet cabochon; the space between each of the arms is filled with a pair of confronted crozier-like spiral motifs and the cross is suspended from a rounded, ribbed suspension loop. Byzantium was justly famous for the elegance of its jewellery, whether in precious metals for the aristocracy, or in bronze for people further down the social ladder. The Cross is the principal symbol of Christianity, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The Cross is thus a sign both of Christ himself and of the faith of Christians. In order to confirm its authenticity, this piece has undergone X-Ray Fluorescence analysis by an independent Belgian Laboratory. The samples collected show the chemical composition to reflect the typical metal contents of the described period, whilst also showing no modern trace elements in the patina.XRF certificate with full report will accompany this lot. All samples correspond to the metal content of the period specified; no modern trace elements were detected in the patina; expertly cleaned and conserved. Excellent condition; wearable. Size: L:51mm / W:37mm ; 24.84g; Provenance: Property of a professional Ancient art and jewelry expert; previously with a London gallery; initially from a private British collection formed in the 1990s.

600-200 BC. Apulia. Daunian bell krater with flaring rim, bell-shaped body, rounded stem, disc-shaped base and two lug handles. The cream-coloured rim and body is painted with beautiful deep red bands and the area around the body, level with the lug handles features a repeating leaf motif. A krater is a large ceramic vessel used for mixing wine during drinking parties (symposia) in ancient societies. Ancient wine was considerably stronger than its modern counterparts and often had to be mixed with water, spices and honey in order to make it less potent. Excellent condition.Size: L:270mm / W:235mm ; 1.7kg; Provenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.

C. 400-300 BC. South Italian. Cream-coloured krater with large ear-shaped handle, out turned rim, bell-shaped body, round stem and ring foot. A krater is a large ceramic used for mixing wine during drinking parties (symposia) in ancient societies. Ancient wine was considerably stronger than its modern counterparts and often had to be mixed with water, spices and honey in order to make it less potent. Excellent condition; on a custom stand.Size: L:152mm / W:100mm ; 325g; Provenance: Obtained from a L.F; previously in a collection formed in the 1970s on the UK art market.Size: L:155mm / W:137mm ; 255g; Provenance: Property of a London gentleman, formerly acquired in the US in the 1990s.

Large brutalist and modern sculpture by Belva Ball titled "The Sea Thing" bronze, copper, and iron. Provenance: acquired in Florida in 1984. Ball Michigan modernist sculptor, whose work was exhibited in 1968 at the Art Institute of Chicago and featured nature-inspired, biomorphic subjects. Size: 46 x 36 in.

Lovely and bright watercolor on canvas by Peter Kitchell. It is signed and titled in the lower middle and verso. It is titled "Eye to Horn" and dated '87.The child of two architects, Peter Kitchell, born 1950, was primed to be an artist at an early age. When the family moved from Exeter, NH to San Francisco, Kitchell began taking art classes for children at age five at the Museum of Modern Art and De Young Museum. He was exposed to modern abstract painting by the age of nine.

Lacquer wall hanging. Signed and dated 04 on the verso.Jolly has exhibited at Hokkaido Museum of Modern Art, Sapporro, Japan, and the International Exhibition Glass in Kanazawa, Japan, as well as Grounds for Sculpture in New Jersey and Laumier Sculpture Park in Missouri. The artist is included in important museum exhibitions such as the Indianapolis Museum of Art, Museum of Fine Art, Boston, Renwick Gallery of the Smithsonian American Art Museum, and the Carnegie Museum of Art and most recently in the Wornick Collection exhibited at the Museum of Fine Art, Boston.Size: 14 x 18 in.

"Art and Agriculture" study for the mural in the Department of Agriculture building in Washington, DC. Oil on canvas, Provenance: acquired from the artist's estate, signed by his 3rd wife. Thomas Gilbert White was an American painter, now best remembered for his murals. He was born in Michigan, died in Paris, studied with James McNeil Whistler. White's murals decorate many state and federal buildings in the U.S. Early in 1934 he was the center of controversy of the 40 foot panel he did for the Dept. of Agriculture. The assistant secretary of agriculture at the time criticized the mural as too classical, but the painting was finally accepted. It showed a group of four allegorical figures around a large oak tree. Critics expressed a belief it should have included artistic references to AAA crop control and modern agricultural machinery. The mural previously had been displayed in Paris and won praise from French and American experts. Overall size: 48 1/2 x 84 1/2 in. Sight size: 401/2 x 76 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Stylized girl holding a dog on her lap. Original lithograph, numbered and signed in pencil. Born in La Paz, Graciela Rodo-Boulanger was a Bolivian artist noted for her stylizedrenderings of children, and that is reflected in the lithograph here, which is titled“Children & Animal Suite” on a paper label on the back. Graciela wanted to be an artistand musician, but found she couldn’t devote all her time to both, so she turned to artand held her first exhibitions in Vienna and Salzburg when she was just 18. She studiedetching and printmaking under Johnny Friedlaender in Paris. She married a Frenchman,Boulanger, so she could have a Spanish and French name; her public name becameGraciela Rodo de Boulanger in Spanish and Graciela Rodo Boulanger in French. In1966, her ambition bore fruit then she published her first editions of engravings andexhibited in the United States. In 1979, UNICEF designated her the official artist for theInternational Year of the Child poster, and two of her tapestries were displayed in thehall of the UN General Assembly. The Museum of Modern Art of Latin America inWashington DC. gave a retrospective of her works in 1983. In 1986, the MetropolitanOpera in New York commissioned her poster for Mozart’s The Magic Flute and herpaintings were shown by the Art Gallery of Lincoln Center. She has had more than 200exhibitions world-wide. The Suite is numbered 43 out of 100 in Roman numerals in thelower left margin and signed in the lower right margin. The overall size is 33 1/4 x 25 1/4in. wide and the sight size is 23 3/4 x 14 1/2 in. wide.