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SIGNED JAZZ LPS. 8 LPs, all bearing signatures. The Modern Jazz Quartet - Pyramid signed by John Lewis, Connie Kay, Milt Jackson, Percy Heath. Art Pepper - Living Legend signed to reverse by Art Pepper, Mike Vax Big Band feat Art Pepper signed faintly to front by Art Pepper, The Heath Brothers signed to front of sleeve by Jimmy and Percy Heath, Stan Kenton signed to reverse of sleeve by Stan Kenton, Pete Rugolo signed sleeve, Lennie Niehaus, The King Sisters.

Late to Ptolemaic Period, 664-30 BC. A restrung lapis lazuli necklace composed of seed beads interspersed with later yellow metal ribbed beads, the central feature composed of three bifacial lotus flower pendants flanked by six reclining cat pendants, small discoid beads in between; modern clasp. 12 grams, 64cm (25 1/4"). Property of a London gentleman; acquired on the London art market in the 2000s.Very fine condition.

5th-3rd century BC. A restrung bracelet of blue glass oblate beads with interstitial biconvex gold metal beads each with a filigree rim, applied filigree loops and granules; modern clasp. 40.98 grams, 18cm (7"). Property of an Essex collector; acquired on the UK art market; formerly in an early 1990s private collection. [No Reserve] Fine condition.

Early 14th century AD. An impressive iron great helm of later typology, composed of five plates rivetted together; T-shaped nose guard with cross-shaped ventilation holes below, rectangular eye-holes to each side; attachment holes for the internal lining still visible. See Walther, I.F. & Siebert Insel G., Codex Manesse, Die Miniaturen der GroBen Heidelberger Liederhandschrift, Frankfurt am Main, 1988; Williams, A., The Knight and the Blast Furnace. A History of the Metallurgy of Armour in the Middle Ages & the Early Modern Period, Leiden-Boston, 2003; Žákovský P., Hošek J., Cisár V., A unique finding of a great helm from the Dale?ín castle in Moravia, in Acta Militaria Medievalia, VIII, 2011, pp.91-125.1.6 kg, 28.5cm (11 1/4"). Property of an East Anglian collector; formerly acquired on the European art market in the 1990s; accompanied by an academic report by military specialist Dr Raffaele D’Amato. This helm belongs to the category of the great helms made of five separate plates rivetted together. The chronological indicator for the great helms with five plates, suggested by Žákovský, Hošek, Cisár (2011, p.100), is the shape of the top occipital plate. This plate, flat in older helmets dated to 13th and early 14th century, is convex to hemispherical in the helmets made between 1320 and 1330 AD, followed by a conspicuous rib following the longitudinal axis of the plate. The modification of the top occipital plate from flat to convex or hemispherical, was better suited to deflecting potential blows of the opponent, or perhaps responded to the fact that, since the beginning of the 14th century, lighter helmets were worn under the great helms to provide the wearer with more comfort, a generally better view and more peripheral vision. A video of this lot can be viewed on Timeline Auctions website. Fine condition.

1st century AD and later. A group of four restrung necklace strings comprising: one composed of mainly irregular amber glass beads, modern clasp; one composed of graduated mixed glass and bronze beads with large later biconical central feature bead, modern clasp; a string of mainly oblate turquoise glass beads; a Y-shaped string of spherical carnelian beads with two pendant beads. 125 grams total, 26-54cm (10 1/4 - 21 1/4"). Ex an important Dutch collection; acquired on the European art market in the 1970s. [4] Fine condition.

3rd century AD. A discoid votive lead plaque with billetted border and pelletted ring, central scene of a facing worshipper (Helen of Sparta) and tripod altar, personification of the sun with radiating beams to the right, stylised moon on the left, snakes over their heads, vegetation and punched annular motifs in the field, two cavalrymen (Castor and Pollux) flanking the central figure from left and right. See Gorny & Mosch (Giessener Muenzhandlung), 16th October 2001, lot 3454, for similar; see Strokova, L., Zubar V., and Treister M. Y., Two Lead Plaques with a Depiction of a Danubian Horseman from the Collection of the National Museum of the History of the Ukraine in Ancient Civilizations from Scythia to Siberia, 10,1-2, 2004, pp.67-76, for discussion and parallels. 107 grams, 69mm (2 1/2"). Property of a European collector; previously acquired on the UK art market prior to 1980. In the upper portion of the plaque we can see the personification of the moon (left) and the sun (right"). Two snakes over them usually connected to the concept of immortality. The woman in the middle is usually considered to be Helen surrounded by the Dioscuri (i.e. Castor and Pollux"). Both the Dioscuri are represented as the Danubian horseman. Lying figures are below the Dioscuri; under Helen's feet you can clearly see a tripod. The Thracian (Danubian) pantheon was very complex and historical information are mainly taken from Graeco-Roman sources (which of course translate those gods into the Graeco-Roman pantheon) and archaeological evidence. The Danubian horseman is interpreted by some modern scholars as Apollo, Zamolxis, the ancestors' divinity and so on; the two horsemen like the brothers of Helen, the Dioscuri. The figure is said to be Helen or for others, Bendis, the Thracian goddess usually holding a bow and spears. In a period of strong religious syncretism the representation of (the same) divinity was influenced by local cults. Fine condition.

Eight books including Building the Titanic, Wrought Ironwork, Church Carpentry, Modern Foundry Practise, Steel Making for Steel Makers, Grinling Gibbons and the Art of Carving, The Wheelwrights Shop, The Repair and restoration of Wooden Boat.

A LARGE MODERN DECORATIVE ART GLASS VASE

Périclès Pantazis (Greek, 1849-1884)Vase with flowers and apples signed 'Pantazis' (lower left)oil on canvas 40.5 x 56 cm.Footnotes:ProvenancePalais des Beaux-Arts, 25 October 1977, no. 395. Private collection, Brussels. Private collection, Athens. LiteratureG. Drakopoulou, Pericles Pantazis in the Context of 19th Century Belgian Painting (dissertation thesis), Athens 1982, p. 145 (listed), p. 115 (illustrated).Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present, Pierides Foundation, Thessaloniki 1992, p. 72 (mentioned).O. Mentzafou-Polyzou et al., Pericles Pantazis 1849-1884, Evangelos Averoff-Tositsas Foundation, Athens 1994, no. 184, p. 212 (catalogued), p. 52 (illustrated).For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)The hero George Karaiskakis in battle with Kioutachi titled and inscribed in Greek (upper left and lower left) natural pigments on cardboard70.5 x 100.5 cm.Footnotes:ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. (Zygos magazine, 1975) Private collection, Athens.ExhibitedPetra, Mytilene, T. Eleftheriadis House, T. Eleftheriadis Collection of Paintings by Theofilos, 1961.Mytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 16 (illustrated in the exhibition catalogue, p. 6).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 9 (listed in the exhibition catalogue). LiteratureG. Samatouras, Twelve Folk Painters, Athens 1974, p. 88, fig. VII (illustrated).Zygos magazine, no. 13, March-April 1975, p. 79 (illustrated).Anti magazine, vol. 2, no. 20, May 31, 1975 (mentioned). T. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, c. 1960s (T. Spiteris Archive, Tellogleion Art Institute), no 8 (listed and illustrated). M.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, vol. 1, p. 13 (mentioned).An exceptional work by the 'wandering magician of Greek history'1, this engaging canvas of pulsating energy, brilliant colour and keen sense of heroic stature, shows the artist's lifelong fascination with the 1821 Greek War of Independence, paying homage to a giant of the uprising and a legend in his own time.Portrayed on horseback and followed by prominent chieftains (their names fully mentioned in the lower left hand corner inscription),2 Georgios Karaiskakis, commander-in-chief of Greek forces in eastern Greece, hounds the Turk Reshid Mehmed Pasha (known to the Greeks as Kiutahi) who had laid siege to the Acropolis of Athens in 1826. The Sacred Rock, epitomised by the Parthenon ruins shown on the upper right, was of little strategic importance but it had a strong emotional and symbolic value for the Greeks and the philhellenic movement in Europe. The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting.3 Emerging from the smoke and dust of battle, his gaze fixed on the turbaned Turk, the battle-ready leader holds his pistol in his right hand, while his black steed is about to rush the enemy. The vehemence with which both Karaiskakis and his horse prepare to attack is expressed by the dynamic design and the vividness of colour.4 The Greek hero is portrayed full length and well in view, presented in such a manner as to show his figure to the best advantage. Much like a Byzantine icon painter, Theofilos is aiming at an interpretation of the historic event adjusted to a preconceived scale of values.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The linear arrangement of the warriors, the symmetry and rhythm of the composition and the impression of an immutable reality, take one even further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics, where all parts—sentences, ideas, episodes or figures—are placed one after the other like beads on a string.6 The Greek heroes are identified as such not only by the blue and white banner on the right or their characteristic fustanella kilts—the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute—but by purely pictorial means as well: they are more carefully modelled and shown considerably bigger than their opponents, reflecting Theofilos's insistence in taking full advantage of art's liberating freedom that recognizes no limitations when it comes to scale or perspective.7 The wealth of detail, as in the background group of young pallikares fighting over the ruins of the ancient theatre of Herodes Atticus and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and Ioannis Makriyannis, is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of gallantry and legend they are invited to contemplate. 1 See T. Eleftheriadis, 'Theofilos, Chieftain and Guardian of Greek Painting' in The Painter Theofilos in Mytilene [in Greek], exhibition catalogue, Mytilini 1962.2 This inscription, as well as the title on the upper left, reflect the painter's desire to provide a full description of his subject by leaving nothing obscure. On the contrary, everything is explained and clearly expressed and, therefore, all phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present. The inclusion of written text, in addition to expressing a longing for knowledge following the Ottoman occupation, denotes a unification of iconographic and linguistic symbols in a uniform and living Greek myth. See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Ministry of the Aegean, Athens 1999, p. 43.3 See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.4 See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75.5 See A. Grabar, Byzantine Painting, Skira, Geneva 1979, pp. 36-37.6 See H. Kambouridis - G. Levounis, p. 43.7 See L. Papastathis, 'Theofilos in Mt. Pelion' [in Greek], Lexi magazine, no. 172, November-December 2002, p. 945.*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, 26-29 March 2020. This work will be located in Athens during the auction.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1910-1985)Jason signed in Greek and dated '51' (lower right)oil on canvas45 x 34.5 cm.Painted in 1951.Footnotes:ExhibitedAthens, Zappeion Hall, 4th 'Armos' Group exhibition, December 10, 1952 - January 10, 1953, no. 93 (listed in the exhibition catalogue, p. 12).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 38, (listed in the exhibition catalogue, p. 295).LiteratureAngloelliniki Epitheorisi, vol. 6, no. 3, Winter 1953-1954, p. 206 (illustrated).N. Engonopoulos, Atlantikos, 1954, p. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, Epta Imeres, Kathimerini weekly magazine, 25.5.1997, p. 30 (illustrated).Nikos Engonopoulos, As Handsome as a Greek, Goulandris-Horn Foundation, Athens 2000 (illustrated on the cover).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 35, pp. 82-84 (discussed), p. 85 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 66, p. 221 (discussed and illustrated). N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 8 (mentioned).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 397, p. 527 (mentioned), p. 270 (illustrated), p. 436 (illustrated).http://www.engonopoulos.gr/_homeEN/bio.html, 2017 (mentioned).The journey beginscome alongwe embarkto foreign landsN. Engonopoulos, Atlantikos, 1954A historic painting, which illustrated N. Engonopoulos's surrealist poem Atlantikos when it was first published in the Angloelliniki Epitheorisi journal in 1954, Jason was exhibited in the 1954 Venice Biennale1 alongside surrealist works by such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte. There, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, 'in the 1946-1954 period, and probably throughout Engonopoulos's career, his most important milestone was the representation of Greece at the Venice Biennale.'2 Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'This brilliant picture shows the ancient Greek hero Jason standing aboard his legendary Argo, which is registered here in the seaside town of Chalkis, wielding a trident in his left hand, while making a characteristic gesture with his right in an effort to discern something in the distance, perhaps the faraway land that stretches on the horizon. This painting was indeed a perfect choice to illustrate Atlantikos, which, as noted by literary critic V. Chadjivassiliou, 'seems to look outward, possibly towards an ontological and existentialist field, where what's primarily at stake is the non-negotiable struggle for freedom, which the poet invokes right from the opening verses: the ship sounds / the train whistles / from the turrets they give the signal / beware / the journey begins / come along / we embark / to foreign lands.'3 Alluding to a heroic past drawn from the treasury of Greek mythology, Jason faithfully 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's universal, but at the same time deeply rooted in Greekness'.4 His 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 His 'Greekness' is not only achieved through iconographical choices but it is also shaped by the values of ancient Greece and the principles of Byzantine painting and folk art. As a result, the artist is credited with carrying on the tradition of Greek art from antiquity to the present.6 1 Up until the mid-20th century the Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.3 V. Chadjivassiliou, 'From Bolivar (1944) to Atlantikos (1954): Surrealist Uprising and Defeat in the Poetic Mythology of Nikos Engonopoulos', Lexi magazine, no. 179, January-March 2004, p. 81. 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 See L. Tsikouta, 'On Nikos Engonopoulos' [in Greek], Eikastika magazine, no. 48, December 1985, p. 21.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

Michalis Economou (Greek, 1888-1933)Fishing boat at sunset signed 'M.Economou' (lower left)oil on board54.2 x 65.5 cm. Footnotes:ProvenanceThe Antonopoulos collection, Patras and Athens. Thence by descent to the present owner's private collection, Canada and United States.We are grateful to Mrs Afroditi Kouria for her assistance in authenticating this lot.Handled with loosely painted, abbreviated curvilinear forms and stripped of superfluous descriptive detail, Economou's peacefully floating boat1 is transformed into a highly evocative image that feels more like a distant recollection than an actual sensory experience. Fishing boat at sunset prioritizes atmosphere and lyrical feeling above realistic depiction. Introduced by the water reflections that lead the eye from the foreground to the middleground, the poetic mood permeates the entire seascape, turning it into an expressive field that records the artist's emotional and intellectual response to the natural environment. The juxtaposition of soft and heavily worked forms bathed in diffused light creates an ambivalent sense of presence/absence in a poetic 'timescape' where human presence is suggested rather than actually depicted.2 Note how the fisherman is so integrated in the poetic atmosphere that he dissolves into his natural surroundings, partaking in the ethereal vagueness and lyrical uncertainty of space.Moreover, the depiction of the sun, a motif often found in folk Greek art but rarely encountered in Modern Greek and European painting, endows the atmosphere with transient gleams of light and golden luminosities, accentuating the romantic feeling. In 1927, D. Kokkinos noted that the works by Economou were true works of poetry, but so masterfully rendered that their significance as paintings prevailed.1 For a discussion of the boat motif in Economou's work, see A. Kouria, Michalis Economou, Fifty Years from his Death [in Greek], Zygos magazine, no. 56, November-December 1982, p. 15.2 Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, pp. 106-116.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Nudes signed in Greek and dated '56' (lower left); signed, inscribed and dated (on the reverse)oil on cardboard70 x 50.5 cm.Footnotes:ProvenanceAcquired directly from the artist by the family of the present owner.LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 95, p. 99 (illustrated).Noble simplicity and calm grandeur mark Moralis's Two nudes, achieving a modern realization of the classical ideal: the elimination of the temporary, the elevation of form to a symbol and the pursuit of balance between lyrical feeling and intellectual thought.Reviewing the artist's work up to 1958, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'In seeking to enrich the intellectual content of his work, Moralis was led to a conscious and gradual conquest of space where the construction is at once solid and expressive; where every inch of painted surface is subordinate to the spirit of the canvas which expresses an enduring world. Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1The female nude has always been a key subject in Moralis's art, tracing his stylistic development and revealing the wide range of his art historical and intellectual interests.2 In the 1950s, his evocative female nudes, either sitting or reclining, were gradually stripped of descriptive detail and handled in a more abstractive fashion, without, however, losing their recognizable form.3 In Two nudes, the purity of form, the composed immobility, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek idealistic art4 (compare Composition, 1951, Bonhams, Greek Sale, 17 April 2019, lot 32.)By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis expresses what is permanent and universal. 'Dedicated to the human figure, particularly the female one, Moralis has given us some of the most significant and intrinsic aspects of 20th c. art—not only of Greek but of world art. Above all else his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and the transcendental.'5 As N. Hadjikyriakos-Ghika once noted, 'Moralis's youthful females, closely attuned to the idealism of ancient Greek art, are lovable forms endowed with grace and tenderness, created by the Muses and the Hours.'6 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. See also M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.2 See D. Papastamos, 'Yannis Moralis the Artist' in Yannis Moralis, Commercial Bank of Greece, Athens 1988, pp. 27, 28.3 See K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, p. 17.4 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean, Athens 1999, p. 126.5 C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34.6 N. Hadjikyriakos-Ghika, Nea Estia magazine, no. 1245, 15 May 1979. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Tsarouchis (Greek, 1910-1989)The visit signed in Greek and dated '1962' (lower left)gouache on paper21 x 30 cm.Footnotes:Showcasing Tsarouchis's signature subject and one of the most celebrated images of 20th century Greek art, The Visit conveys a world of clarity and truthfulness, capturing in the male youth's sincere, straightforward gaze, unfeigned composure and sharp, clean-cut facial features the humane dignity and inner strength of Modern Greece. Displaying a creative fusion of fluid line, simplified design and brilliant, translucent colour, the artist conveys a serene world of pure forms, seeking to highlight and ultimately typify the folksiness of his subject and transform it into an enduring symbol of his lifelong quest for Greekness.As noted by critic D. Kapetanakis, Tsarouchis found the truth of Modern Greece in the bodily forms of Greek youth. In contrast to other cultures, such as the French, which are woman-centred, Greece, both ancient and modern, is mainly expressed through masculine types.1 In the same vein, Nobel laureate O. Elytis noted that 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'2As noted by Tsarouchis himself, 'to speak of the representation of man in Greek art is superfluous because whatever great Greek art achieved through the centuries it was with man as its subject. I think of the Kouroi, the Apollos and the incomparable icons of Christ. The study of the male figures helped me understand what is emphatically called today national identity.'3 1 See D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937.2 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.3 Apodosis, Yannis Tsarouchis Texts dictated to Alexios Savakis [in Greek], Athens 2005, p. 44This 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

Nikiforos Lytras (Greek, 1832-1904)A moment of prayer signed in Greek (lower left)oil on panel31.5 x 18.5 cm.Footnotes:ProvenancePrivate collection, Athens.Bonhams, London, The Greek Sale, 26 November 2013, lot 16. Acquired from the above sale by the present owner. This wonderful vignette of church genre evoking a sentiment of pious respect, heart-felt religiosity and spiritual experience, showcases Lytras's amazing skill in the freer handling of form. The generalised rendering, diffused outlines and elimination of detail point to the artist's ability to shift the centre of gravity in Greek art from the descriptive to the purely pictorial, from the external approach to the painting's inner life. Forms are simplified, drawing loosens up and surfaces are handled with broader brushstrokes and heavier application of paint, while the human subjects are rendered with a deliberate indifference for their material substance. Immersed in the spiritual ambiance, the priest, the young woman and her two children surrender their individual specificity as something incongruous and incidental to take on a symbolic quality, honouring the divine. Humility and veneration endow the scene with a solemn grandeur accentuated by a limited palette of subdued hues that perfectly match the austerity of the Byzantine temple. Promoting a world of everlasting spiritual values vis-à-vis modernity's transient, fragmentary and largely superficial experience, this evocation of noble sentiment and archaic simplicity conveys to the secularised viewer a sense of nostalgic desire for more stable times, for an age-old, uncorrupted world of firm religious belief and pure spiritual feeling. Here, Lytras seems to concentrate upon both the virtues of the contemplative, moral life and the veneration of the Greek Orthodox tradition, which he believed was indispensable for the nation's survival and well being. 'Lytras seeks to sustain the Greek people's adherence to their religious traditions, customs and ceremonial practices, and enhance their religious sentiment, well aware of its consoling powers in the face of life's adversities and sudden changes.'1 As Lytras himself used to say 'the customs of the Greek people brought independence and must be protected like the apple of one's eye.'2 1 X. Sochos, Greek Artists [in Greek], Leonis editions, Athens 1930, p. 25. 2 Y. Kerofylas, Nikiforos Lytras, Patriarch of Modern Greek Painting [in Greek], Filippotis editions, Athens 1997, p. 57.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Epithalamion signed in Greek and dated '64' (lower right); signed and dated 'MORALIS/ATHÈNES/1964' (on the reverse) oil on canvas73 x 50 cm.Painted in 1964.Footnotes:ProvenanceT. Zoumboulakis gallery.Private collection, Athens. Bonhams, London, The Greek Sale, 25 November 2014, lot 74.Acquired from the above sale by Epsilon Art collection. ExhibitedAthens, Tassos Zoumboulakis Gallery, 1964, no 14.Athens, Alexander Iolas – Zoumboulakis Gallery, March 1972, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - A. Soutzos Museum, Yannis Moralis, April 1988, no. 51 (possibly). LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies, Athens 1988, no. 146, p. 146 (illustrated).Moralis, Adam editions, Athens 1993, no. 86 (illustrated).Echoing age-old memories of antiquity's epithalamia nuptial songs dedicated to the bride and sung on the way to her marital chamber, this perfectly balanced composition of pure form, elegant line, harmonious proportion and disciplined rhythm, adheres to a coherent inner order dictated by the timeless values of ancient Greek art and the classical sense for human scale.The painting is one of the finest examples of Moralis's famed epithalamia series from the 1960s, a body of work celebrating the erotic union of man and woman and representing both a continuation of and a departure from his earlier epitymvia compositions. As noted by Athens National Gallery Director M. Marina Lambraki-Plaka, 'in the artist's epithalamia paintings, volumes recede, handing supremacy over to the outlines, which tense dynamically to suggest the third dimension. His palette is now limited to warm siennas and ochres, evening-sky blues, whites, blacks and greys. Even subtle chiaroscuro effects are totally abolished, while colours become solid and completely flat. Paradoxically, the more 'modern' Moralis becomes the more classical, the more 'ancient' he tends to be.'1 Here, his evocative female nude is stripped of descriptive detail and handled in such an abstractive fashion that it takes on a symbolical meaning, liberated from the burden of physical existence without losing its recognisable form. One can almost trace the progress from the sensual aspects of the subject to the metaphysical and transcendental. As Nobel Laureate O. Elytis once noted, Moralis was always driven by a longing for the monumental, bestowing even on his most sensual conceptions a feeling of mystery and a sense of the sacred.2 1. M. Lambraki-Plaka, Yannis Moralis, a 20th Century Classic in A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2011, p. 12. 2. See O. Elytis's preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Theodoros Stamos (Greek/American, 1922-1997)Infinity Field Lefkada Series #I, 1974 titled, dated and signed on the overlap 'Infinity Field Lefkada Series #I, 1974, Stamos'acrylic on canvas157 x 116 cm.Footnotes:ProvenanceDoyle, New York, Modern & Contemporary Art Sale, 25 May 2011, lot 83.Piasa, Paris, Art Moderne, Art Contemporain Sculpture & Art Hellénique, 30 November 2016, lot 21. Private collection, Athens. ExhibitedFlorida, Metcalfe Klopfer Gallery, Theodoros Stamos Selections 1959-1986, February 11 - March 10, 1999, no. 31 (illustrated in the exhibition catalogue, p. 71).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Yiannis Spyropoulos (Greek, 1912-1990)Synthesis N signed in Greek (lower right)oil in canvas60.5 x 80.5 cm.Painted in 1959.Footnotes:ProvenanceBonhams, The Greek Sale, 10 Nov 2008, lot 55.Acquired from the above by the present owner.LiteratureY. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 491b, p. 370 (listed), p. 222 (referred), p. 219 (illustrated).A powerful mixture of simplicity and sophistication and a wise conciliation between gestural brushwork and sturdy compositional structure, this captivating work offers a commanding display of technical discipline and intuitive expression. Planes, surfaces and textures are meticulously analysed by dark structural outlines, while intense counterbalancing forces and energetic shapes are articulated into a serene and robust geometrical structure set in motion by circular gestural marks that endow the composition with an improvised yet coherent inner rhythm.1 'The Greek scenery with its architecture of masonry fences, arches, courtyards and dry stone walls, observed from afar as outlined geometrical shapes, constituted the onset of visual stimulation before becoming a painterly proposal.'2 This beautiful canvas also reflects Spyropoulos' deep interest in Byzantine art. Professor C. Christou notes: 'The golden-yellow colour that comes to dominate the work of Spyropoulos by 1960 and which in essence reflects nothing more than the presence of sunlight, or rather Greek light, is something he finds around and within himself, in the past from which he hails and the present where he belongs. It reveals the influence of the Byzantine icon painting he grew up with and his familiarity with the Greek light under which he lives, while at the same time his work expresses the intricate nature of modern artistic creation.'3 Yiannis Spyropoulos was the first Greek painter who, while residing permanently in Greece, managed to attain an illustrious international career, highlighted by his participation in the 1960 Venice Biennale, where he was awarded the UNESCO prize. His works, which represent the most advanced and mature aspect of Greek abstraction, have been included in prestigious private collections around the globe -particularly in America where this painting comes from- and exhibited at the most important European and American museums of modern art.41 See E. Ferentinou, 'Jannis Spyropoulos' [in Greek], Zygos magazine, no.32, July 1958, p. 18.2 L. Tsikouta, 'Processes, Influences, Assimilations, Personal Idiom, Birth of an Artwork: The Case of Jannis Spyropoulos' in Jannis Spyropoulos, The Classicist of Abstraction, exhibition catalogue, National Gallery – A. Soutzos Museum, Athens 1995, p. 141.3 C. Christou, Jannis Spyropoulos [in Greek], Athens 1962, p. 158.4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Athens 1999, pp. 156-158.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

Toko Shinoda (b.1913) NOH PLAY Lithograph, 1999, signed l.l., numbered 9/50 in pencil, printed by K Kimura embossed l.l. image 35.5 x 25cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) FAINT Lithograph, signed l.l., dated and numbered 24/35 in pencil, embossed stamp printed by K Kimura image 26.5 x 35.5 approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) VELOCITY Lithograph, signed l.l., dated and numbered 93/95 in pencil, embossed stamp printed by K Kimura image 25.5cm x 34.2 approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) PROFOUND Lithograph, signed l.r., dated and numbered 47/50 in pencil, embossed stamp printed by K Kimura image 35.2 x 25.3cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Toko Shinoda (b.1913) HOMAGE painted in Sumi ink, 2009, signed l.r. image 45cm x 31.3cm approximately, framed and glazed 'A conservative renegade; a liberal traditionalist...'; this is how Toko was described in a 1983 TIME magazine article and this is borne out in her work, which manages to effortlessly marry the tradition of ancient calligraphy with the abstract of modern art. She held her first exhibition at the age of twenty, and her works can now be seen in numerous permanent collections, such as those in the British Museum, New York’s Museum of Modern Art and the Rijks Museum in Amsterdam, and other leading institutions around the world.

Un-ichi Hiratsuka (1895-1997) GARDEN OF OBAI MONASTERY, Daitoku-ji, Obaiin no Niwa, The Garden of Obaiin of Daitoku Temple Woodblock, 1963, signed l.r. and numbered 29/50 in pencil, bearing the artist's seal image 38.5 x 46cm, framed and glazed A master printmaker and leading exponent of the sosaku hanga movement, Unichi Hiratsuka’s stark compositions - mostly in black and white, which he described as ‘the most beautiful of colours’ - are held in many renowned collections, including the Metropolitan Museum in New York and the Tokyo Museum of Modern Art. Hiratsuka was given the Order of Cultural Merit by the Japanese government in 1970 and the Hiratsuka Unichi Print Museum was opened in Suzaka in 1991. Much of his later years were spent teaching and exhibiting in the US, but he did eventually return to Japan, where he died in 1997 at the age of 102. This design is in the Van Zelst Family Collection, famous Hiratsuka collectors.

A SET OF 3 CURVED MODERN WALL ART

Leon Underwood (British 1890-1975) Bronze of the African Madonna, (Modern British Avant Garde Sculptor ) - Original bronze - the African Madonna with a fine brown Patination. Conceived in 1934/1935, signed to the base Leon. U., numbered IV-VIII, dated 36. on a gnarled walnut rustic wood base. total height 14 1/2''. Literature: The sculpture of Leon Underwood by Ben Whitworth, published Lund Humphries 2000 cat no. 93. African Madonna (variants) illustrated on page 60. His works can be seen in major British museums and public collections in the UK. He was the precursor of modern sculpture in Britain, attended the Slade School of Fine Art and the Royal College of Art. In the first World War he worked with Solomon Joseph Solomon, Norman Wilkinson and Paul Klee as a camoufleur creating observation posts camouflaged as trees and other objects. In 1921, Underwood opened the Brook Green School of Art in Hammersmith. Amongst his many students, he taught Henry Moore and Barbara Hepworth. Moore later spoke of his indebtedness to Underwood's influence and teaching. He wrote a number of books on ancient African sculpture including Bronzes of West Africa, which were a great influence to him in later years for cycladic and African culture designs. Provenance - Mirfield Theological College of the Church of England, West Yorkshire. On Saturday October 22nd 2011, the monks at the college held an auction to raise money for the church renovations for the grade listed building. The bronze on offer was sold at this auction and mentioned in the catalogue and sold next to work by Eric Gill - entitled Lord Jesus Christ. The said bronze was also mentioned in the local paper, The Intelligent Weekly Press on 7th October 2011. See https://www.thepressnews.co.uk/press-news/monks-auction-prized-artefacts.

A Selection of Useful Fan and Glove Boxes, to include a cream card fan boxed labelled Duvelleroy; a modern box covered with bird printed fabric; a Fan Museum fan box covered in pink patterned paper and lined in pink; two Chinese fan boxes covered in patterned silk, the lids clear; three French fabric covered glove/fan boxes, one with red and green leaves, one with Art Nouveau embroidery on the exterior lid; and finally a similar beige box with Art Nouveau embroidery (8) CONDITION REPORT: . All have been used but are generally clean and fit for purpose.

French Advertising Fans and 20th Century Modern and Tourist Fans: A large quantity of printed fans to include; “Odone's Restaurant” printed by Chambrelent featuring a Viking longboat; “Etablissements E. Boulant” with four cafés in Paris; two fans with romantic scenes but no attribution; a floral fan for A.Vogel; a modern black lacquer brisé with gold ribbon and chain; a striking fan with Batik print; a modern brisé by Lorraine Taylor-Kent dated 1994, entitled “Making Waves”, with an op-art print; a 1990's fan celebrating Comets; a “Ricordo” cockade souvenir fan in olive wood from Sorrento ; two damaged 19th c fans for spares; a fixed fan screen for Palais Galliera, Paris, the “Henry Clarke” exhibition held in 2002; and fifteen various tourist fans (28) CONDITION REPORT: . Mostly unused, the first four have some wear.

A selection of Victorian and later Art glass to include a pair of enamelled Czechoslovakian yellow glass vases and a modern Tiffany style dragonfly light shade

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

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

Willughby (Francis, & John Ray). The Ornithology of Francis Willughby of Middleton in the County of Warwick Esq; Fellow of the Royal Society. In Three Books ... Translated into English, and enlarged with many Additions throughout the whole Work. To which are added three considerable discourses, I. Of the Art of Fowling ... II. Of the Ordering of Singing Birds. III. Of Falconry, by John Ray, London: by A. C. for John Martyn, 1678, title-page in red and black, 80 engraved plates, 2 inserted tables, light toning, title-page spotted and soiled, fore edge slightly chipped, repaired at lower outer corner verso, marginal chip to L3, small spill-burns in Y4, 2E1 and 2N1, closed tears in 2I4 and 3H2, repairs to lower outer corners of plates 1, 2, 23 and 58 and to both outer corners of plate 78, extensive closed tears in plates 8 and 14, a few nicks closed tears and other marks to plate margins, modern half calf, folio (35.3 x 21.3 cm) (Qty: 1)NOTESTHE DAVID WILSON LIBRARY OF NATURAL HISTORY PART I ESTC R9288; Keynes 39; Mullens & Swann pp. 651-2; Nissen IVB 991; Wing W2880; Wood p. 629; Zimmer pp. 677-8. First edition in English, greatly enlarged from the Latin first edition of 1676 by the addition of Ray's three discourses. 'One of the most important treatises on ornithology of all time, being the first systematic classification of the birds of the world' (Wood).

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

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

Richter (Gisela). Engraved Gems of the Greeks and the Etruscans, A History of Greek Art in Miniature, 2 volumes, 1968-71, colour & monochrome plates, original cloth in dust-jackets (volume 1 dust-jacket faded & a little marked), folio, together with: Marshall (Frederick Henry) , Catalogue of the Jewellery, Greek, Etruscan, and Roman, in the Departments of Antiquities, British Museum, reprinted, 1969, monochrome plates, original cloth in dust-jacket (frayed at head of spine), 4to, Dalton (Ormonde Maddock) , Catalogue of the Engraved Gems of the Post-Classical Periods in the Department of British and Mediaeval Antiquities and Ethnography in the British Museum, 1915, frontispiece and numerous monochrome plates, original red cloth, faded, 4to, Osbourne (Duffield) , Engraved Gems, Signets, Talismans and Ornamental Intaglios, Ancient and Modern, 1st edition, New York: Henry Holt & Co., 1912, monochrome plates, top edge gilt, remainder untrimmed, original cloth in slightly torn dust-jacket, 4to, and 15 others related including Boardman (John) , Engraved Gems, The Ionides Collection, London: Thames & Hudson, 1968, and Archaic Greek Gems, Schools and Artists in the Sixth and Early Fifth Centuries BC, London: Thames & Hudson, 1968 (Qty: 20)

Saint (Andrew, editor) . South-East Marylebone, 2 volumes, (Survey of London, volume 51 & 52), Yale University Press, 2017, numerous colour & monochrome illustrations, publishers original cloth in dust jackets and slipcase, large 4to, together with: Wightwick (George) , The Palace of Architecture: A Romance of Art and History, 1860, 67 black & white woodcut illustrations, later inscription to front pastedown, some toning & spotting throughout, rebound retaining publishers original gilt decorated green cloth, boards & spine slightly rubbed & marked, large 8vo, and [John Henry Parker] , A Glossary of Terms used in Grecian, Roman, Italian and Gothic Architecture, 3 volumes, 5th edition, 1850, numerous black & white illustrations, some light toning & spotting, top edges gilt, publishers uniform original embossed brown cloth, boards & spine lightly rubbed, 8vo, plus other 19th century & modern architecture reference & related, mostly original cloth, some in dust jackets, 8vo/4to. (Qty: 46)

* Jazz. Rare 45rpm promotional single by The Mike Westbrook Concert Band with Norma Winstone, featuring a superior re-recording of "Original Peter" on the A-side and "Magic Garden" on the B-side, Deram DM 311, original Deram sleeve, release date of 21 August 1970 announced on the label, matrices DR-47516-T1-1C / DR-47715-T1-1C, together with another rare 45rpm promotional single by The Mike Westbrook Concert Band, featuring "A Life Of It's Own" on the A-side and "Can't Get It Out Of My Mind" on the B-side , Deram DM 234, original Deram sleeve, release date 14 February 1969 on the label, matrices DR-44336-T1-1C / DR-44337-T1-1C (Qty: 2)NOTESJazz composer and pianist Mike Westbrook OBE began his first bands in 1958 and was soon joined by such musicians as John Surman, Lou Gare and Keith Rowe. After moving to London in 1962, he led numerous bands, large and small. In 1967 he moved into the live pop circuit with his ‘Concert Band’. The band would vary wildly in size, although regulars included saxophonist Mike Osborne, bassist Harry Miller and vocalist Norma Winstone. Signed to Decca’s ‘progressive’ imprint Deram, and therefore rubbing shoulders with artists such as Cat Stevens, David Bowie and Amen Corner, they released a series of albums and became part of a movement that could loosely be termed ‘Prog Jazz’, blending modern jazz styles with avant-garde and psychedelic influences from the Pop Art scene and acts like The Beatles and The Jimi Hendrix Experience. "Original Peter" features a catchy abstract funk riff, repeated into a hypnotic dance groove. This very rare promotional single features a shorter and faster take of Original Peter with the bass funked up and electric piano hammering to the fore, supported on the B-side by hallucinogenic travelogue The Magic Garden, which doesn’t appear to have been directly inspired by The Magic Roundabout but may as well have been. The Mike Westbrook Concert Band’s live shows included impressive theatrical special effects, pyrotechnics, animal acts, tightrope walkers, high divers, back projections and magic tricks, all of which were carefully planned and choreographed to fit around the music. The overall effect was akin to a giant psychedelic circus.

Angelo (Domenico). [L'École des Armes ...] The School of Fencing, with a General Explanation of the Principal Attitudes and Positions Peculiar to the Art. Dedicated to their Royal Highnesses the Duke of Gloucester and Prince Henry-Frederic, by Mr Angelo, London: S. Hooper, 1765, titles and text in English & French (archival tape strengthening to lower blank margin of English title), 47 engraved plates (with imprint at foot of each dated Feb 1763), modern speckled calf, titled in gilt to upper board, minor fading and light scuffs, oblong folio (28.2 x 44.5 cm) (Qty: 1)NOTESThimm p.10; Cohen-de-Ricci, p.83. Angelo Domenico Malevolti (1716-1802) was the son of a wealthy Italian merchant. When the author came to England, he changed his name to 'Angelo' and became a fencing teacher to the English royal family, practising the fencing techniques and positions according to the French fencing school. The 1763 first edition of this work was published in French as L'École des Armes, and re-issued in various sizes. The second edition was the first bilingual edition of this important and beautifully illustrated work on fencing. The plates and text were reproduced in the Encyclopédie of Diderot and d'Alembert.

Angelo ( Domenico). Angelo's Attitudes of Fencing, [London, 1783], engraved title (neatly strengthened to verso at fore-edge), 43 plates only (numbered 1-47, lacking plate numbered 23), some toning and slight creasing, modern blind decorated sheep, oblong 8vo (12.5 x 25 cm) (Qty: 1)NOTESThis volume comprises an engraved title and collection of plates with imprint dated August 1783 (i.e. bound without letterpress text). The same plates were issued in The School Of Fencing With A General Explanation Of The Principal Attitudes And Positions Peculiar To The Art. - By Mr. Angelo, London, 1787. Both volumes contained paired plate numbers 2 / 3, 11/12, and 13/14, each being assigned as one plate (refer to Thimm p.10).

Angelo ( Domenico ). The School of Fencing with a General Explanation of the Principal Attitudes and Positions Peculiar to the Art, by Mr. Angelo, London, 1787, letterpress title, 44 plates (numbered 1-47, imprint at foot of plates dated August 1783), some toning, spotting and light offsetting, occasional dampstains, endpapers renewed, original publisher's boards (lightly dampstained & spotted), modern cloth spine, oblong 8vo (14 x 23.5 cm) (Qty: 1)NOTESThimm p.10; Vigeant 29. An English edition of an important work on fencing, edited by the son of the author. Containing paired plate numbers 2 / 3, 11/12, and 13/14, being assigned as one plate.

Olivier (Jean, Fencing Master). Fencing Familiarized: or, a New Treatise in the Art of Sword. Illustrated by Elegant Engravings (L'Art des Armes Simplifie?), new edition, London: J. Bell, 1780, titles and text in English & French, 2 engraved armorials to dedication leaves, 13 engraved plates only of 14 (includes 12 folding, lacking plate 4 'of the Longe in Carte'), tissue guards, ink ownership stamp P.D. Pownoll to upper blank margin of one title, some offsetting, fore- & lower- edges untrimmed, modern sheep, maroon morocco title label to spine, 8vo (Qty: 1)NOTESThimm p.211; Vigeant p. 97; Pardoel 1945; Castle, Schools and masters of fence, p. XLIX and p. 218. The new edition of this bilingual fencing treatise by the famous French fence-master Jean Olivier, dedicated to the Earl of Harrington, with new illustrations. The first edition was published by the same publisher, in 1771. Vigeant, Thimm and Castle list a copy (probably following each other) of the new edition which also has the frontispiece of the first edition, but it is not listed in the list of plates. The plate of the first position of drawing the sword was clearly made to serve as a frontispiece in this new edition. As Vigeant states, the plates of this new edition are superior to those in the first edition. "Olivier, who kept a flourishing school in St. Dunstan's Court, Fleet Street, was perhaps, after Angelo, the most popular master of the small sword in London. His work is very sound, and thoroughly justifies its French title, as it contains a simplified system, shorn of all unnecessary and obsolete details." (Castle).

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

McArthur (John). The Army and Navy Gentleman's Companion; or A New and Complete Treatise on the Theory and Practice of Fencing. Displaying the Intricacies of Small-Sword Play; and Reducing the Art to the most Easy & Familiar Principals by regular progressive Lessons, new edition revised with a Glossary and Improvements, London: J. Murray, 1784, engraved allegorical frontispiece, title and 19 engraved plates (including 16 folding), subscribers list present, occasional offsetting, some spotting, slight toning mostly to margins, modern reddish dark brown half sheep, gilt decorated spine, 4to (Qty: 1)NOTESThimm p.172; Vigeant p.32; Pardoel 1692; Lipperheide 2978. John McArthur (1755-1840) entered the navy in 1778, having a distinguished career, rising to become secretary to Viscount Hood and purser of the flagship Victory. He offered this treatise on fencing as all others that he had perused "have been published by Professors, or Teachers of that art, and are incomprehensible to young learners; owing to the intricate manner they have made choice of, in describing the different movements, parades, and thrusts, which should be rendered as simple and easy as the nature of the Art would admit". The plates are after his own drawings. The 1st edition of The Army and Navy Gentleman's Companion was published in 1780, and other publications of his work included A Treatise on the Principles and Practice of Naval Court-Martial (1792) and The Life of Admiral Lord Nelson (1809).

Rolando (Le Sieur Guzman ). The Modern Art of Fencing agreeably to the practice of the most eminent masters in Europe. By Le Sieur Guzman Rolando, of the Academie des Armes. Carefully revised and augmented with a technical glossary, etc. by J.S. Forsyth, London: Samuel Leigh, 1822, half-title, 23 hand-coloured engraved plates (including frontispiece with coloured pencil signature J.H. Hart & flourish mark to verso, with consequent light show-through), tissue guards (few with closed tears), 12 page publisher's book list at rear, some toning and light dust-soiling, some marginal browning, scattered spotting, edges untrimmed, modern dark green half calf, gilt decorated spine, 12mo in 6s (Qty: 1)NOTESThimm p.244; Vigeant p.113; Pardoel 2226. Rolando was fencing master of the Academie des Armes in France. The present work was adapted from a manuscript by Rolando in the possession of one of his former students as referred to in the introduction to the volume. This the first edition of the pocket-sized illustrated handbook proved very popular. The title-page includes a quote from John Locke regarding education ' Fencing has so many advantages in regard to health and personal appearance, that every gentleman of respectability ought to have so striking a mark of distinction.' It includes a publisher's stock list on the last 4 pages ('Established school books'). A Spanish edition was published by Ackermann in 1826.

Powell (George H.). Duelling Stories of the Sixteenth Century, 1904, monochrome frontispiece and plates, top edge gilt, remainder untrimmed, original cloth gilt, some wear, 8vo, together with: Dunn (H.A. Colmore) , Fencing, 1927, black & white illustrations, original limp cloth, small 8vo, and other fencing reference including, The English Master of Arms, by J.D. Aylward, 1956; Fencing with the Foil, Instruction and Technique, by Roger Crosnier, 1951; Fencing, Ancient Art and Modern Sport, by C. de Beaumont, 1960; The History and Art of Personal Combat, by Arthur Wise, 1971; A Century of Fencing in Britain, by Malcolm Fare, 2002; The Fencer's Companion, by Cav. Leon Bertrand, 2nd edition, 1958; Fencing Comprehensive, by Felix Grave, [1934]; Modern British Fencing, A History of the Amateur Fencing Association of Great Britain, by C. de Beaumont, [1949]; Fencing, by Hugo Castello & James Castello, New York, 1962, etc., mostly original cloth, many in dust-jackets, includes a few duplicates and some paperbacks (Qty: 50)

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

Thimm (Carl A.). A Complete Bibliography of Fencing and Duelling, reprinted 1986, monochrome illustrations, original cloth, upper outer corner of upper board broken and worn, 8vo, together with: Gray (Edmund) , Modern British Fencing, A History of the Amateur Fencing Association 1964-1981, London, 1984, monochrome frontispiece and illustrations, original boards in dust-jacket, 8vo, and other fencing reference including, Fencing Comprehensive, by Felix Grave, [1934]; Fencing, by H.A. Colmore Dunn, 1899; The House of Angelo, A Dynasty of Swordsmen, by J.D. Aylward, 1953; The Duel, A History of Duelling, by Robert Baldick, 1965; The Epee Club - 100 Years, by Malcolm Fare, Luke Fildes & Edmund Gray, 2000; ACentury of Fencing in Britain, by Malcolm Fare, 2002 (with presentation label to title from British Fencing Association); Fencing with the Foil, Instruction and Technique, by Roger Crosnier, 1951; Fencing with Electric Foil, Introduction and Tactics, by Roger Crosnier, 1961; Fencing, A Practical Treatise on Foil, Epee, Sabre, by R.A. Lidstone, 1952; Fencing, Ancient Art and Modern Sport, by C. de Beaumont, 1960, etc., mostly original cloth, many in dust-jackets, includes a few duplicates and some paperbacks (Qty: 47)

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

History. A large collection of modern history, biography & art reference , including 'Down With The Crown' British Anti-monarchism and Debates about Royalty since 1790, Antony Taylor, 1999, The Estates of The English Crown 1558-1640, edited by R.W. Hoyle, 1992, & publications by Cambridge, Yale, John Hopkins, Sutton, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 6 shelves)

Scholes (Percy A. [editor]) . Dr. Burney's Musical Tours in Europe, 2 volumes, Oxford, 1959, 2 black & white portrait frontispieces, bookplates to front endpapers, uniform original cloth in dust jackets, spines faded & slightly rubbed, 8vo, together with: Finburg (Alexander J.) , The History of Turner's Liber Studiorum with a new catalogue, 1924, signed by the author to the limitation page, numerous monochrome illustrations, some minor spotting, publishers original cloth, boards & spine lightly marked, 4to, limited edition 261/650, and Seznac (Jean & Jean Adhémar) , Diderot Salons, 2 volumes, deuxième edition, Oxford, 1975, original cloth in dust jackets, covers slightly rubbed to head & foot with minor loss to head of volume 2, 4to, plus other miscellaneous 19th century & modern history & art reference, some leather bindings, mostly original cloth, some in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 3 shelves & a carton)

OAK ART DECO WALL CLOCK, vintage walking cane and a small modern rug

A boxed Spode Liverpool jug, boxed hand crafted art tile, milk jug and sugar bowl, crystal glassware, Dutch tulip vase, two hand painted vases, modern silhouette d'Art flower vase and other items (2).

Tiffany style table lamp, modern Art Deco style table lamp, pair of resin model dogs, painted glass globes, night lights, carved wood animals, plated bowl, framed print, modern bronze figure of a fox and other item

An Art Deco style diamond white 18ct gold dress ring, the old cut diamond in a square four claw setting, raised on a pierced oval floral design gallery, with modern brilliant cut diamonds to shoulders, marked 18ct to inner shank, ring size O, 2.9g, central diamond 0.22ct

δ Banksy (b.1974)Sale Ends (LA Edition) Screenprint in colours, 2007, numbered from the edition of 500 in pencil, published by Modern Multiples Fine Art Editions, Los Angeles, on wove paper, with full margins, sheet 575 x 765mm., (22 ¾ x 30 in).The current lot is from the Barely Legal Set, the intended edition was 500 however, only circa 100 were printed. This work is accompanied by a certificate of authenticity issued by Pest Control Office.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Jake and Dinos Chapman (b. 1962 & 1966)The Rape of CreativityEtching printed with tone, 2003, signed and numbered from the edition of 100 verso, on wove paper, published by Modern Art Oxford, with full margins, sheet 493 x 590mm (19 ½ x 23 ¼in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

δ Genieve Figgis (b.1972)Adam and Eve Archival pigment giclée print in colours, 2019, signed and numbered from the edition of 150 in pencil, on Hahnemuhle Archival Fine Art paper, published by the Irish Museum of Modern Arts, Dublin, with full margins, sheet 700 x 565mm (27 3/5 x 22 1/5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A Modern Folio Containing Six Colour Posters, 'The Decorative Art of Charles Rennie Mackintosh'

Modern tribal art style mounted Tapestry, aprox size 190 x 122cm.

Mihail Chemiakin (New York, Russia born 1943) "Untitled VIII" Color serigraph. Numbered (33/225) lower left. 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: 20 x 17.25 in. Sheet Size: 30 x 21 in. Unframed.