§ Lettice Sandford (British, 1902-1983) Illustration for "The Golden Bed of Kydno" wood engraving 22 x 14cm (9 x 5in) Literature: Illustration from "The Golden Bed of Kydno", translated from the Modern Greek of Evadne Lascaris by P Mathers and illustrated with twelve line-engravings by Lettice Sandford, pub. The Golden Cockerel Press, 1935 Other Notes: As a girl, Lettice Rate studied at the Byam Shaw and Vicat Cole School of Art, and later, with an interest in book illustration, at the Art Section of the Chelsea Polytechnic. Here she worked under Percy Jowett, who had earlier taught her at her boarding school in north London. She was taught engraving on wood by Robert Day, and etching by Graham Sutherland. On a skiing holiday in Switzerland, she met the printer, Christopher Sandford, and they were married in 1929. Together they ran the Boar's Head Press whose books were printed at the Chiswick Press, of which Christopher Sandford was a Director. Condition is fine.
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![[MAGIC AND VENTRILOQUISM] A COLLECTION OF FOUR EARLY 20TH CENTURY BOOKS comprising THE ART OF MODERN CONJURING London, early](https://cdn.globalauctionplatform.com/ef9e6eaa-7d8b-4f64-8216-a8ce011940aa/f24d001c-4576-43eb-9271-87a798177455/468x382.jpg)
[MAGIC AND VENTRILOQUISM] A COLLECTION OF FOUR EARLY 20TH CENTURY BOOKS comprising THE ART OF MODERN CONJURING London, early 1900s. 8vo, nearly 200 photographic illustrations of magic tricks and sleight of hand etc., pictorial cloth binding; BLYTH, W J - PAPER MAGIC Tricks and Amusements with a Sheet of Paper. London, 1923. 8vo, illustrations, pictorial boards; GOLDIN, HORACE (Royal Magician) a twenty-page souvenir programme featuring magic tricks, original paper covers, circa 1925, scarce; KING, H G and CLARK, JOHN - VENTRILOQUISM AND JUGGLING London, 1921. 8vo, pictorial boards, spine repaired (4)
Art History - Ruskin (John), The Seven Lamps of Architecture, With Illustrations Drawn by the Author, third edition in small form, George Allen, London 1891, contemporary full maroon morocco, soft 12mo; Ruskin (John), Modern Painters, six-volume set bound as three, George Allen, London 1904, contemporary vellum spines with gilt sinuous foliage, maroon morocco title labels, green cloth boards, 12mo; Collingwood (W.G.), The Art of Teaching John Ruskin, Rivingtons, London 1900, contemporary full black pebble morocco, marbled endpapers, armorial bookplate: Lt Colonel John Acton Brooke, 12mo; Townsend's System of Foliage, bound collection of early 19th century lithographic plates, embossed buckram, oblong 4to, [sold as a collection of plates and not subject to return];Wright (Thomas), A History of Caricature & Grotesque In Literature and Art [...], Virtue Brothers & Co., London 1864, Pictorial bookplate by William Bell Scott (1811 - 1890), monogrammed and dated 1881: Ex Libris Joseph Knight and further inscribed in MS purple ink to endpaper: Joseph Knight (1829 - 1907, the book collector and theatre critic), inserted manuscript note detailing the purchase of the book from the third portion of Knight's 'Poor old [...] Book Sale' by Frederick Vernon, Lot 1576, 23rd June 1905, square 8vo; The Works of Mr Hogarth, Moralized, J. Goodwin, London [early 19th century], full-page engraved plates and vignettes, contemporary quarter-leather and marbled boards, armorial bookplate: William Thomas Latham, 4to; another edition of Hogarth's works; Crowe (J.A.) and Cavalcaselle (G.B.), The Early Flemish Painters: Notices of Their Lives and Works, second edition, John Murray, London 1872, full contemporary blue leather binding, marbled endpapers, 12mo; Conway (William Martin), Dawn of Art in the Ancient World: An Archaeological Sketch, Percival and Co., London 1891, contemporary maroon buckram, early 20th century Pictorial bookplate, 12mo; Waterhouse Hawkins (B.), The Artistic Anatomy of Cattle and Sheep, With Twenty Illustrations Drawn on Wood by the Author, and Engraved by H. Orrin Smith, second edition, Winsor and Newton, London 1869, pamphlet, 12mo; Country Life, Great Houses of France, folio; etc, [18]
Books - Art, Art History and Antiques -Richard Green: Important Old Master Paintings 1994; Salomon Lillian: Old Masters 2003; Artemis 87 - 88 annual report; Faber Gallery catalogues, various; The John Scott Collection: 'Modern English' Design from the 1860s and 1870s, volume two, The Fine Art Society, London 2014; Axe (John), The Encyclopedia of Celebrity Dolls, h/b, d/j; The Collector's Encyclopaedia of Dolls, h/b, d/j; American Sublime: Landscape Painting in the United States 1820 - 1880, Tate 2002; Bruegel (3); Japanese art and painting (3); Fabergé, 1846 - 1920, V&A 1977; Wowk (Kathleen), Playing Cards of the World: A Collector's Guide; Warner (Ian) & Posgay (Mike), The World of Wade, Books 1 & 2 and Wade Price Trends, (3); Bradley (H.G.), Ceramics of Derbyshire 1750 - 1975, h/b, d/j; further illustrated reference; others, similar (qty)
After Joan Miro (Spanish, 1893-1983): poster from Museum of Modern Art New York, Exhibition October 17th 1993 - January 11th 1994, depicting 'The Hunter' (Catalan Landscape) Montroig July 1923 - Winter July 1924, published by the Museum Of Modern Art, New York 1993, 63 by 72cm, glazed and framed 72 by 80cm.
Vintage and Antique Toys : Collector's/Specialist's Reference Collection including :Hollow-Cast Figures; Golden Years of Tin Toy Trains; Art of the Toy Soldier; Modern Toys from Japan; British Tin Toys; Dinky Toys - Pictorial Record; Toy Autos 1890-1939; Modern Toys from Japan; Bassett-Lowke and Co. Northampton. Together with 40 other related volumes.
50 Batman comics Nos 189 (1st app. Silver Age Scarecrow), 206, 217 (Neal Adams art), 234 (1st Two-Face Modern Age), 237 (1st Reaper), 243, 249, 262, 266, 268, 270, 271, 272, 273, 274 x2, 275, 276, 277, 281, 288, 289, 290 x2, 291 (Joker, Catwoman cover), 292, 293, 294 (Joker)m 295, 297, 298, 299, 306, 308, 309, 313, 319, 321, 323, 326, 329, 330, 338, plus 7 more including Batman Family Nos 4, 11, 13 plus 100 Page Special No DC-14, All GD - VG with cover stamps (50+ comics) {cabinet W}
Modern Art Deco Style Satinwood Console Table. Minor Rubbing and scuffs otherwise good condition. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from 2100 South Ocean Blvd, Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area of Palm Beach. Shipping: Third party. (estimate $500-$700)
Modern Art Deco Style Satinwood Console Table. Minor Rubbing and scuffs otherwise good condition. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from 2100 South Ocean Blvd, Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area of Palm Beach. Shipping: Third party. (estimate $500-$700)
Psalters & Chanters: Birch (Walter de Gray) The History, Art and Palaeography of the Manuscript styled The Utrecht Psalter, roy 8vo L. 1876, illus., cloth; Stewart (Sir R.P.) Chants Ancient and Modern, Responses etc, D. 1883; Chants and Responses, 4to D. 1914; Stainer (Sir J.) The Church Hymnary, 4to Edin. 1898, a.e.g., full mor.; & 3 others, as a lot, w.a.f. (7)
A quantity of decorative arts and modern design books, to include 'The Art of Rene Lalique' by Bayer & Waller, 'The Glass of Lalique' by C.V. Percy, 'Italian Design - 1870 to the Present' by Penny Sparke, 'Art Deco Interiors' by Patricia Bayer, 'Encyclopaedia of Art Deco' by Alastair Duncan, and 'All Colour Book of Art Deco' by Dan Klein
Alice Maher (b.1956) Did I Really Kill All Seven of Them? (1990) mixed media on paper signed on reverse 133 x 103½cm (52.36 x 40¾in) Hillsboro Fine Art, Dublin (label verso); Private Collection Irish Museum of Modern Art: SIAR 50: 50 Years of Irish Art from the collections of the Contemporary Irish Art Society (CIAS) 2006 Recognised as one of Ireland's foremost artists, Alice Maher explores contemporary female experience through the prisms of history, fairytales and myth. She has ranged freely across quite a range of media, from sculpture, often using unorthodox materials, to animated film and painting. But it's fair to say that, from the beginning, graphic work has been at the heart of her vision. Some of her best series of drawings feature a capricious young heroine, perhaps an Alice in Wonderland alter ego, who gains a sense of her own power and potential even as the world conspires to deny it to her.
Roderic O'Conor RHA (1860-1940) Figures in a Pool (1898-1900) oil on board stamped verso: 'atelier / O'CONOR' 31¼ x 40½cm (12.30 x 15.94in) Hotel Drouot, Paris, Vente O'Conor, 7th February 1956; Collection of Dr Henry M.Roland; Collection of Sean O'Criadain; Private Collection Manchester and Leeds, City Art Galleries, Modern Works from the collection of Dr Henry M.Roland, 1962, no.88; Pont-Aven. Musee de Pont-Aven, Roderic O'Conor (1860-1940), 1984, no.21; London, Barbican Art Gallery, Roderic O'Conor (1860-1940), September - November 1985, no.28: this exhibition travelled to Belfast, Ulster Museum, November 1985 - January 1986; Dublin, National Gallery of Ireland, January - March 1986; Manchester, Whitworth Art Gallery, March - May 1986. J.Benington, 'From Realism to Expressionism: The Early Career of Roderic O'Conor', Apollo, April 1985, pp. 257,260; J.Benington, Roderic O'Conor: A Biography, with a Catalogue of his Work, Blackrock, 1992, pp. 83,200, no.89, pl.30. O'Conor is well known for the many studio nudes he painted after he settled in Paris in 1904. However, his first nude compositions were scenes of female bathers that he executed in Brittany during the late 1890s, inspired in part by the region's growing popularity with seaside holiday-makers and, on a more personal level, by a life-changing encounter with Paul Gauguin. Figures in a Pool is one of only four oil paintings of bathers to survive from O'Conor's hand. Collectively they count amongst his most sensual, personal and boldly executed works. Prior to meeting Gauguin in April 1894, O'Conor had always relied on having a motif in front of him when embarking on a painting. It is highly likely that Gauguin exhorted his Irish friend to rely less on nature and draw more from his memory and imagination, echoing the master-pupil exchange played out in Arles six years earlier with Van Gogh. Gauguin's final departure for the South Seas in 1895 brought the friendship with the Irishman to an abrupt close, although one eye-witness later recalled being given a letter addressed to O'Conor by Gauguin that was "too scatological for publication - details of the ideal position in sexual intercourse - and I lost the letter when the Germans pillaged my house" (Alden Brooks to Denys Sutton, 12 July 1956, Tate Archive). The same eye-witness further reported that O'Conor "went from mistress to mistress" after an engagement was abruptly broken off, implying that he and Gauguin were on the same wavelength not just artistically, but also in their relationships with women. With Gauguin's example in mind, especially works such as Woman in the waves of 1889 (Cleveland Museum of Art), O'Conor developed a series of paintings that drew extensively from his imagination and appeared to be of symbolist intent. In some the subjects and meanings are allusive, as confirmed by the titles subsequently given to them by later owners, for example The Good Samaritan and Romeo and Juliet, which along with the present work and a later bathers picture are the only oil paintings by O'Conor that combine more than one figure. However, none of these other compositions have the exuberance and spontaneity of Figures in a Pool, in which a nude female bather with long red hair bursts from the water supporting another bather in her arms. The subject is immersed in bright sunlight that glances off the limbs, shoulder and face of the figure held high, relegating the torso and face of her companion to the shadows. Although the facial features are blurred due to the artist's heavy build-up of paint, we see enough to know that both women are looking towards the viewer, as if surprised at being discovered in this unselfconscious act of playful intent. In this work O'Conor has boldly combined the complementary colours orange and green so as to achieve maximum visual impact. The technique was known at the time as simultaneous contrast; it involved placing complementary hues side by side so that they reinforced each other. O'Conor would have noticed how Van Gogh set great store in this phenomenon, although it was not a method of which Gauguin approved. The hint of striping that can be seen in the ripples of the water and in the green garment abandoned on the far bank of the pool are further reminders of Van Gogh's legacy. These links with major Post-Impressionist artists demonstrate O'Conor's enlightened connoisseurship, forged not through the recommendations of others, but rather through his own personal connections - themes that will be fully explored in the forthcoming exhibition at the National Gallery of Ireland: Between Paris and Pont-Aven, Roderic O'Conor and the Moderns (18 July to 28 October). Jonathan Benington, March 2018.
Neville Johnson (1911-1999) Ordained Enigma (1992) acrylic on board signed lower right and dated '92 38½ x 34½cm (15.16 x 13.58in) Solomon Gallery, Dublin (label verso); Collection of Senator and Professor Trevor West of Trinity College and Charleston, Ballinacurra, Cork; By descent Neville Johnson was one of a number of progressive artists in Ireland championed by the art dealer Victor Waddington in his Dublin gallery from the late 1940s. While many of the others are still household names, it was Johnson's fate to be recurrently forgotten and rediscovered. A thoughtful, cerebral person, his earlier work showed a fine grasp of Italian metaphysical surrealism, and he went on to explore a succession of related modern styles with great skill. He is also known for his street photographs of Dublin in the early 1950s. His Enigma paintings see him look back on his own earlier works in a spirit that recalls the Analytical phase of Cubism.
POPULAR MUSIC: Small selection of signed (3) and unsigned (1)colour silkscreen concert posters of different sizes (16 x 24 and slightly smaller) issued to promote performances by various rock bands and other groups and musicians at Rock City, Nottingham, all of the posters being limited editions signed by the artist Jay Ryan and featuring attractive designs commissioned by the Richard Goodall Gallery, comprising The Human League (signed by all three members of the British New Wave pop group comprising Philip Oakey, Susan Ann Sulley and Joanne Catherall, with a small crease to the upper left corner), Death Cab for Cutie (signed by all four members of the American alternative rock band, comprising Ben Gibbard, Nick Harmer, Jason McGerr and Chris Walla), The Decemberists (signed by all five members of the American indie rock band, comprising Colin Meloy, Chris Funk, Jenny Conlee, Nate Query and John Moen, and also signed by American violinist and singer Petra Haden who has collaborated with the band) and Iron & Wine (American singer-songwriter, unsigned). VG, 4 Jay Ryan (1972- ) American Poster Artist and Rock Musician who has been described as 'a modern master in Rock Poster Art and Band Posters'.
GARDNER JOHN: (1917-2011) English Composer. A.L.S., John Gardner, six pages, 8vo, Morden, Surrey, 7th May 1953, to Mr. Butt. In a long and revealing letter Gardner informs his correspondent of how flattered he is to be asked to produce a piece on the Future of Modern Music, the composer continuing to write a short biography and further continuing to comment on the present state of music, stating, 'As far as my genern goes I think the future is in an eclecticism based on spontaneous uninhibited lyrical invenn wh. is why I admire Britten above all other British Composers since he has worked more than anyone along these lines & why I liked yr Blake Songs too' further commenting, 'To be pompous I think the composer nowadays must be cognisant of his environment to the extent of writg anything for anyone (like Britten). Music is a dyg art.' A letter of good content. With a paper-clip rust stain to the first and last page, otherwise VG
MATISSE PIERRE: (1900-1989) French-born American Art Dealer and son of Henri Matisse. His gallery in New York (which existed from 1931-89) became an influential part of the Modern Art movement in America. An early A.L.S., Pierre Matisse, two pages, 8vo, n.p., 12th December n.y., to his father, Henri Matisse ('Mon cher Pap') in French. Matisse seeks his father's forgiveness if his handwriting is not good as his finger hurts and further sends news from home, 'The garden has changed, it is well arranged and well raked. We don't make angry Mom Matisse. It's Mary who makes me angry, she's mean to me, she doesn't make me laugh'. He continues 'I hope you had a good trip and are having fun in Spain. I think you'll be back with us soon because we're bored…..we are looking forward to it' and also adds 'I work well at the Lycee and I have a good place in French composition…..Aunt Berthe…came to see us, they brought us some great candy from Perpignan. Everybody's fine'. With blank integral leaf. VG
MCLUHAN MARSHALL: (1911-1980) Canadian Philosopher & Intellectual who coined the terms 'global village' and 'surfing' and also predicted the World Wide Web almost thirty years before it was invented. A.L.S., Marshall McLuhan, one page, 4to (onion skin notepaper), Toronto, 24th February 1963, to [Neville] Braybrooke. McLuhan announces 'It was a happy inspiration that made you send me The Idler!' and continues 'I have read it with much enjoyment and shall now seek out your other writings. As a devoted student of T. S. Eliot I had of course read your volume for his 70th birthday'. The philosopher further informs Braybrooke that 'Frank Kermode has written me to say that he has suggested to the editors of Encounter that they start a debate in a series of articles concerning the themes of the Galaxy' and asks if he would like to participate, adding 'Roland Penrose of the Institute of Contemporary Arts has written to say that the Galaxy has given them the idea for a 1965 show on the Extensions of Man: Technologies seen as extensions of our organic being, having immediate as well as persistent psychic and social effects. Thus electromagnetic technologies are extensions of our central nervous systems as much as others of our bodies. i.e. E.S.P.' McLuhan concludes by stating that he hopes to come to England in the summer to discuss the matter with Penrose, 'and it would be a great disappointment if you were not there at the same time'. A letter of good content, not least for its references to two of McLuhan's most famous works. Some light overall creasing, about VG Neville Braybrooke (1923-2001) English Poet, Writer, Editor, Literary Critic and Publisher. The Gutenberg Galaxy: The Making of Typographic Man (1962) is a pioneering study in the fields of oral culture, print culture, cultural studies and media ecology in which McLuhan prophesised the web technology experienced today when he stated 'The next medium, whatever it is-it may be the extension of consciousness-will include television as its content, not as its environment, and will transform television into an art form. A computer as a research and communication instrument could enhance retrieval, obsolesce mass library organization, retrieve the individual's encyclopaedic function and flip into a private line to speedily tailored data of a saleable kind'. Understanding Media: The Extensions of Man (1964) is a more widely known work by McLuhan and is regarded as a pioneering study in media theory. Dismayed by the way people approached and used new media such as television, McLuhan famously argued that in the modern world 'we live mythically and integrally ... but continue to think in the old, fragmented space and time patterns of the pre-electric age'.
λ Walter Steggles (British 1908-1997)Suffolk farmOil on canvasSigned lower right41 x 51cm (16 1/4 x 20 1/4in.)Provenance:Alex Reid & Lefevre, LondonSale, Christie's, 7th December 2006, lot 101Exhibited:Ottowa, National Gallery of Canada, British Contemporary Art, 1935, no. 80Ascot, Austin/Desmond Fine Art Ltd., Modern British, 11th June 1988 λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Hemans (Felicia) Records of Woman, first edition, 1828 bound with The Restoration of the Works of Art to Italy, second edition, trimmed at head, Oxford, 1816 and Dale (Rev. Thomas)The Widow of the City of Nain; and Other Poems, sixth edition, 1824, together 3 works in 1 vol., contemporary half calf § [Carne (John)] Poems: containing The Indian, and Lazarus, bookplate, contemporary calf, gilt, 1820 § Magill (Rev. Robert)The Thinking Few, a Poem, some scattered foxing, modern wrappers, Belfast, 1828 § Banim (John) The Celt's Paradise, book labels, contemporary half calf, neatly and sympathetically rebacked, rubbed, 1822; and 8 others, poetry, 8vo (12)⁂ An interesting group of 19th century works, the second includes a poem centring on a Native American warrior, the last 2 are rare with COPAC listing only 2 copies of the first (BL and Cambridge) and 1 copy of the last (Oxford only, not in BL).
DONALD BYRD/ART FARMER/FREDDIE HUBBARD - Introducing these Trumpet legends with 4 x essential LPs. Titles are Donald Byrd (x2) - Ethiopian Knights (Blue Note stereo 'United Artists' 1972 original BST 84380 - strong Ex/Ex copy) and Byrd In Hand (1967 stereo 'A Division Of Liberty' pressing, BST 84019 - superb Ex+/Ex+), Art Farmer - Modern Art (UK London Jazz Series LTZ-T 15167 - G+ with some light surface marks, there is a scratch on track B1/Ex) and Freddie Hubbard - The Artistry Of (seldom seen original Spanish mono issue on Impulse A-27 - glossy Ex/Ex housed in original US sleeve).
JAZZ/EASY/RAT PACK LPs - Diverse and musically rich collection of around 215 x LPs (including around 26 x 10" LP releases). Artists/titles include Mike Nevard's Melody Maker All Stars - Aces Anonymous (Don Rendell rumoured to have been part of this early Atlantic 10", ATL LP 2), Charles Mingus Presents Jazz Workshop Volume 2 (LDE 178), Cannonball And Coltrane, Herbie Hancock, Cannonball Adderley - Somethin' Else (RE), Eric Dolphy - Out To Lunch! (2016 RE), Ella & Louis (2016 RE), Gene Norman Presents Just Jazz, Originators Of Modern Jazz (Dizzy, Charlie Miles and Fats Navarro! Vogue LDE 006), Art Blakey's Jazz Messengers With Thelonious Monk (LTZ-K 15157), Dave Brubeck inc. Jazz Goes To College/Junior College and Time Further Out Dizzy Gillespie - Afro (33CX 10002), The Jazz Giants '56, Erroll Garner inc. Concert By The Sea, Frank Sinatra (over 34 releases) inc. Songs For Young Lovers, In The Wee Small Hours, All Alone, I Remember Tommy, Songs For Swingin' Lovers, Come Dance With Me and Nice 'N' Easy, Count Basie (around 17 titles) and Stan Kenton (over 50 releases). Condition is generally VG+ to Ex+.
By Steve Wager, a modern silver 'Hatto' bowl and ladle, London 2004 and 2006, circular form, high handle, spot-hammered silver-gilt interior, on a raised circular foot, the ladle with a gilded bowl, height of bowl 18cm, approx. weight 9.5oz. (2) Provenance: purchased from S.E.W Ltd, 10 October 2006., Goldsmiths Fair 2006. Steve Wager writes on this bowl, "'The Hatto Bowl', named in memory of Margot Hatto, a German Jew rescued by a handsome intelligence officer in WWII. I taught Margot the art of silver smithing and we became close friends for over 20 years until her passing in 2002. She graciously left me her entire smithing workshop which included the designs for the 'bowl'."
A Playstation 3 games console ' Prestige Edition ' games pack ' Call Of Duty - Modern Warfare 2 ' set. Appears 100% complete, possibly unused. Comprising of Hardened Steelbook edition game, Concept Art Book, Night Vision Goggles and ' Soap ' Mactavish Goggle Stand. All housed within the original presentation box.
Flemish School, 17th century style, an old lady holding a peach and wearing a bonnet, oil on canvas, 70 x 54 cm, in an ebonised frame See illustrationProvenance: Formerly part of the collection of Jose-Maria Sanchez de Muniain y Gil, Professor of Aesthetics at the Complutense Madrid University (1945-79) Condition report ReportProvenance: These paintings were part of the collection of Jose-Maria Sanchez de Muniain y Gil, Professor of Aesthetics at the Complutense Madrid University (1945-79). He was an avid collector of art and devotee of aesthetics, building his own weekend villa in the Sierra de Guadarrama in the outskirts of Madrid designed by the architect Curro Inza, and affectionately known by locals as 'El Caracol' (The Snail), due to its unusually rounded construction. The paintings, which were purchased from dealers based in Madrid, were housed in this setting from the El Caracol's construction in the 1950s and 60s. Don Sanchez de Muniain also held the posts of general director of Secondary Education (1951) and vice-president of the National Council of Education (1954). In addition, he was one of the founders of the Catholic Press in Spain, and was appointed by Pope Paul VI in 1968 as honorary member of the Vatican State.Report by GHSurface of paint cracked all over. Frame more recent than the painting itself. Appears to have been cleaned and re-lined, all of this must have been a long time ago. Stretcher appears fairly modern.
c. 400-390 BC, unsigned dies by Euainetos. Decadrachm, 43.13gg (8h). Obv: Quadriga galloping left, driven by a charioteer holding reins and directing the horses with a goad; above, Nike flying right to crown the charioteer; in exergue, panoply of arms on two steps: cuirass, two greaves, and a Phrygian helmet. Rx: ΣΥΡΑΚΟΣΙΩΝ Head of nymph Arethusa left, wearing a reed wreath, triple ear pendant, and necklace; around, four dolphins. Gallatin F VIIa/RIV. Ex Stack's, 12 January 2009, Golden Horn, lot 2135. On the obverse, the charioteer seems to be rounding the turning post, the most dangerous moment of the race, so urges on the right-hand pair of horses with his goad while pulling back the left-hand pair with the reins. The drama on the obverse has its counterpart in the eternal beauty of the reverse, depicting the head of Arethusa, the nymph of the local well on Ortygia, a small island belonging to Syracuse, whose features were copied on many other Greek coinages and have also inspired modern connoisseurs such as Winckelmann, Payne Knight, and Goethe. Of the Euainetos decadrachms, while many are signed, there is a large group unsigned with the cockle shell symbol behind the head of Arethusa. In many cases these are struck with some of the most beautiful dies. This coin has incredible centering. The obverse is complete except for the tip of one horse's nose. The reverse, bearing the portrait of Arethusa, is struck on a very broad flan showing the complete name of the city above Arethusa's head and all of the dolphins are extremely clear except for the fin of one and the tip of the nose of another. The centered head of Arethusa is beautifully struck, making it a monument of classical Greek art. More important than the decadrachms of Kimon, this reverse die is one of the most copied coins in the world starting with immediately after it was struck, copied by the Carthaginians in Sicily and continuing all the way to Victorian times and beyond. Near Mint State.
![[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BAMBOO, 2000 A.P., signed with initials and dated in pencil, numbered](https://cdn.globalauctionplatform.com/2c6bc630-79a7-4919-b052-a8b800bfe517/b04fd835-c73e-45f1-88dd-1fe0ac55281e/468x382.jpg)
[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BAMBOO, 2000 A.P., signed with initials and dated in pencil, numbered 3/18, screenprint on wovepaper 84cm x 91cm (33in x 35.75in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. Hodgkin's work is characterised by his sensitivity to colour and ability to stimulate an emotive response in the viewer. His rich and complex paintings are rooted in an everyday reality and his own private experiences. Despite the sweeping energetic brush strokes conveying a sense of spontaneity, they are a result of an extensive process of careful layering and over painting. In Bamboo Hodgkin infuses his understanding of late nineteenth century French painting, especially work by Edouard Vuillard, with his own personal experiences of travelling to exotic locations. The impact of the vivid colour is intensified by his habit of incorporating the frame as part of the picture. Usually his titles seem opaque to the viewer, but for the artist they are the clue to the image.
![[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) LOTUS Signed and dated '80, numbered 77/100, screenprint, printed by K](https://cdn.globalauctionplatform.com/2c6bc630-79a7-4919-b052-a8b800bfe517/e5a93a9c-fa27-4f85-db33-833465094891/468x382.jpg)
[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) LOTUS Signed and dated '80, numbered 77/100, screenprint, printed by Kelpra Studio, published by Bernard Jacobson Plate size 73cm x 90cm (28.75in x 35.5in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. Hodgkin's affiliation with Indian art blossomed early on in his life. During his time in Eton he was first introduced to Indian art by the drawing master Wilfrid Blunt. Soon after, Hodgkin became an avid collector of Indian prints and paintings, and over the years frequently visited the country. Hodgkin references his travels by painting India's national flower.
![[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) FOR ANTONY, 2015 Signed with initials and dated in pencil, numbered 38](https://cdn.globalauctionplatform.com/2c6bc630-79a7-4919-b052-a8b800bfe517/8efd4917-b1b7-4756-d02b-46a76da2e7a9/468x382.jpg)
[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) FOR ANTONY, 2015 Signed with initials and dated in pencil, numbered 38/100, sugar lift etching from three copper plates 26.5cm x 42.5cm (10.5in x 16.75in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. This work features Hodgkin's characteristic broad gestural brushstrokes. These, however, convey a deceiving sense of spontaneity, as it could take up to a year for Hodgkin to prepare to execute a single brushstroke. The title references his partner Antony Peattie whom he lived with until his death in 2017. After coming out as homosexual in the late 1970's, his work became characterised by a heightened sense of eroticism. Painted during a mature point in their relationship the print simultaneously exudes a sense of tranquillity and distress.
![[§] ANTHONY WHISHAW R.A. (BRITISH B.1930) ROCK AN' ROLL Oil on canvas 29cm x 40cm (11.5in x 15.75in) Exhibited: No.37, 'T](https://cdn.globalauctionplatform.com/2c6bc630-79a7-4919-b052-a8b800bfe517/509876e4-1cce-4029-e18f-4b157a3b7fdf/468x382.jpg)
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