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Dame Barbara Hepworth (British, 1903-1975)Intersection signed and dated 'Barbara Hepworth 1946' (lower right)pencil and gouache on gesso-prepared board26 x 37.7 cm. (10 1/4 x 14 3/4 in.)Footnotes:ProvenanceThe Artist, from whom acquired bySerge and Barbara Chermayeff, thence by family descent to the present ownersPrivate Collection, U.S.A.ExhibitedLondon, The Lefevre Gallery, Barbara Hepworth: Sculpture and Drawings, October 1946, cat.no.23To escape the onset of war Hepworth and Ben Nicholson left London for Cornwall with their three young children in late 1939. They initially stayed with the painter Adrian Stokes but by the end of the year had moved into their own house in Carbis Bay near St Ives. The house was small and the lack of space, combined with the wartime scarcity of raw materials and family demands, meant that Hepworth produced no sculpture between 1940 and 1942. Instead, she turned her attentions to drawing.Remembering the early 1940s, Hepworth would describe: 'In the late evenings, and during the night I did innumerable drawings in gouache and pencil – all of them abstract, and all of them my own way of exploring the particular tension and relationship of form and colour which were to occupy me in sculpture the later years of the war' (quoted in Herbert Read, (ed.), Barbara Hepworth: Carvings and Drawings, London, 1952). In 1943, Hepworth started carving again, exploring in sculpture what she had studied in her 1940-42 drawings. Works such as Intersection, executed in 1946, provided further means of exploring new sculptural forms and expanding the research begun at the outbreak of the war. Instead of being self-contained, the forms explored in this later group of drawings expand to the exterior, perusing the boundaries between space and object, surface and surroundings. In their pure geometry and dynamism, they pay homage to Hepworth's friend and artist Naum Gabo, who had also lived in St Ives in the 1940s. Meanwhile her use of colour recalls Piet Mondrian's gridded compositions, with whom Hepworth again enjoyed an engaging discourse.Speaking of the drawings executed after the Second World War, Hepworth explained:'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouache, has a particular kind of 'bite' rather like incising on slate; then one is lost in a new world of a thousand possibilities because the next line in association with the first will have a compulsion about it which will carry one forward into completely unknown territory. [...] Suddenly before one's eyes is a new form which, from the sculptor's point of view, free as it is from the problems of solid material, can be deepened or extended, twisted or flattened, tightened and hardened according to one's will, as one imbues it with its own special life'. (Ibid).Intersection appears as a play of equilibrium between overlapping lines and curved arcs. The forms, which develop in a space that is abstract and purely geometrical, seem to be fixed in a precarious state of balance, ready to swing back into movement. Executed in pencil and gouache on gesso prepared board, Intersection is sparsely coloured with sections of sky blue and yellow, echoing in its restraint Hepworth's approach to colour in her sculpture whilst the two central fanned sections of lines also bring to mind her stringed works in the round.The present work enjoys distinguished provenance, having been acquired directly from the artist (a close friend) by Serge and Barbara Chermayeff. Serge Ivan Chermayeff (1900 – 1996) was a Russian-born architect, industrial designer, writer, and co-founder of several architectural societies, including the American Society of Planners and Architects. In 1928 he took British citizenship and with Paul Follot headed the Modern Art Studio at Waring and Gillow department store in central London, where he ensured that Ben Nicholson and Christopher Wood were given prominence in their exhibition rooms. Sculpture mattered greatly to him and figured in buildings he designed and lived in – indeed he commissioned the 1938 Recumbent Figure in green Hornton stone (now Tate Collection) by Henry Moore for his own 1935—38 house overlooking the South Downs (Bentley Wood, near Halland, East Sussex). Serge opened an architectural practice in 1930 and three years later, arguably one of Germany's most famous Modernist architects, Erich Mendelsohn, arrived in London fleeing racism. Chermayeff recognised the power of the moment and went into partnership with him and their projects together were De La Warr Pavilion, Cohen House and Shrubs Wood. He is also credited with the design of Shann House and the headquarters and factory complex of Gilbeys Gin in Camden, London. In 1940 Serge moved to the United States where he worked briefly as an architect before becoming an academic, first as the Chairman of the Art Department of Brooklyn College and then teaching at the California School of Fine Arts. In 1946 upon the recommendation of Walter Gropius, he became President of the Institute of Design in Chicago. In 1953 he moved to Massachusetts where he opened a practice with Haywood Cutting in tandem, he also took up the role of Professor of the Architecture Department at Harvard School of Design until 1962 when he moved to Yale (where Sir Norman Foster was one of his students), retiring in 1971.It is easy to see how the sculptural qualities of the present work would have appealed to him and given the date of execution (1946), it was painted after Serge and Barbara had left England for the US, therefore likely acquired on a return visit to England. A testament to their enduring friendship.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Eliot Hodgkin (British, 1905-1987)On the Shelf signed and dated 'Eliot Hodgkin. Sept. 61' (lower left)oil on board17.3 x 44.4 cm. (6 3/4 x 17 1/2 in.)Footnotes:ProvenancePrivate Collection, U.K.ExhibitedLondon, Royal Academy, Summer Exhibition, 5 May-26 August 1962, cat.no.587We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

MODERN SOLO ELECTRIC STOVE, with Art Nouveau style cast iron panels76cm highIt does heat when turned on but is sold without any guarantee of working order

BANKSY (BRITISH, b. 1974-), PAIR OF CUT & RUN EXHIBITION POSTERS, 2023 two offset lithographic posters produced for the Banksy: Cut & Run exhibition at the Gallery of Modern Art, Glasgow, mounted, framed and under glasseach poster 42cm x 30cm

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Athènes signé et daté 'Ghika 75' (en bas à gauche)tempera sur papier marouflé sur toile66 x 91.5cm (26 x 36in).Peint en 1975.signed and dated (lower left)tempera on paper laid on canvasFootnotes:ProvenanceZoumboulakis Gallery, Athens.Private collection, Athens.ExpositionsAthens, Iolas-Zoumboulakis Gallery, Nikos Hadjikyriakos-Ghika, December 10, 1976 - January 15, 1977, no. 4 (listed in the exhibition leaflet).LittératureKathimerini newspaper, December 12, 1976.H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5 (discussed).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 234 (discussed and illustrated, fig. 19).A mesmerising cubist-like townscape displaying an architectural network of close-knit rhythmical structures, fragmented interlocking planes, and spatially distorted labyrinthine grids, Athènes showcases Ghika's belief that 'the character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.'1 The rhythmically developed and spatially distorted depictions of Byzantine towns—used as backdrops for religious subjects in much of icon painting—are here pushed to a relentless extreme, transformed into a dense web of lines, angles, and curves. As the schematic undulations of the townscape ascend in petrified waves of subdued colour, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'2Discussing the work, art critic H. Livas notes: 'I'll record what Ghika told me—that even if the subject of his painting is not Greek, its soul always is. Yet, even when the subject is Greek, the spirit of the painting transcends the country and carries us into a new and different world. I take, as example, the painting Athènes, a geometric view of the city that makes it look filled with modern pyramids and Mayan temples. The pyramid has always been one of his favourite forms; I suspect because it suggests mystery; and, modern non- fiction tells us that the pyramid shape can cause miraculous preservation and even regeneration to objects, organic materials, and even people inside it. Ghika's Truncated pyramids of 1963 and the Pyramid triptych of 1965, lift us also to mysterious worlds that we can't quite identify with the comfortable and the familiar.'3 1 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938.2 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.3 H. Livas, Contemporary Greek Artists, Vantage Press, New York 1993, p. 5.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

Spyros Vassiliou (Greek, 1902-1985)La place du marché signé en grec (en bas à gauche)huile sur panneau77 x 90cm (30 5/16 x 35 7/16in).Peint vers 1933-1934.signed in Greek (lower left)oil on panelFootnotes:ProvenanceXenia Kalogeropoulou collection, Athens. (from 1975) Nia Stratos collection, Athens. (from 1981)ExpositionsVenice, XIX Biennale, May 12 - October 12, 1934 (listed in the exhibition catalogue, no. 104, p. 348).Sofia, Preslav Gallery, Exposition du Groupe 'Techni', May 24 - June 10, 1936.Athens, National Gallery - Alexandros Soutzos Museum, Spyros Vassiliou, retrospective exhibition, October 22 - November 30, 1975, no. 91 (listed and illustrated in the exhibition catalogue).Athens, Dimitris Pierides Gallery of Modern Greek Art, Vassiliou's Athens, retrospective exhibition, April 10-20, 1984, no. 7 (listed in the exhibition catalogue).Athens, Agia Paraskevi Municipality Cultural Centre, Spyros Vassiliou – Hommage, November 1987 (illustrated in the exhibition catalogue). LittératureS. Vassiliou, Lights and Shadows, Athens, 1969, no. 23, p. 303 (listed), p. 37 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. IV, Melissa editions, Athens 1976, p. 48, fig.1 (illustrated).D. Papastamos, Painting 1930-40, Astir Insurance editions, Athens 1981, no. 134, p. 128 (listed), p. 124 (illustrated). H. Kambouridis, Spyros Vassiliou, Exhibitions, Ikaros editions, Athens 1982, pp. 33, 35, 179 (mentioned), p. 183 (illustrated).The Athenian magazine, no. 128, June 1984, p. 56 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, Rethymno 1996, vol. I, p. 316 (discussed), fig. 6 (illustrated). Dictionary of Greek Artists, vol. I, Melissa editions, Athens 1997, p. 158 (mentioned).C. Christou, Greek Painting in the Twentieth Century, vol. I, 1882-1992, Society for the Dissemination of Useful Books editions, Athens 2000, p. 242 (mentioned).I. Lakidou, Spyros Vassiliou, his Stage and Costume Design Contribution, Athens 2000, p. 9 (mentioned). Atelier Spyros Vassiliou, a Guide to the Museum, p. 15 (mentioned).Peristylon magazine, no. 7, June 2009, p. 7 (mentioned). K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. III, p. 485 (discussed), p. 692 (catalogued), vol. reproductions II, pl. CCLVII (illustrated).I. Orati, Spyros Vassiliou, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 24-28 (discussed), p. 26 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Chryssa (Vardea) (Greek, 1933-2013)Sans titre, Bleue construction néon, plexiglas57 x 31.5x 22cm (22 7/16 x 12 3/8 8 11/16in).Multiple neon construction, plexiglassFootnotes:Provenance Doyle Auctions, Modern and Contemporary European and American Art, 22 May 2007, New York. PTE Fine Arts, New York.Private collection, New York.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Chryssa (Vardea) (Greek, 1933-2013)Sans titre, Jaune construction néon, plexiglas57 x 31.5x 22cm (22 7/16 x 12 3/8 8 11/16in).Multipleneon construction, plexiglassFootnotes:Provenance Doyle Auctions, Modern and Contemporary European and American Art, 22 May 2007, New York. PTE Fine Arts, New York.Private collection, New York.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikiforos Lytras (Greek, 1832-1904)Jeune fille au bain huile sur toile82 x 61.5cm (32 5/16 x 24 3/16in).oil on canvasFootnotes:ProvenanceFrom the private collection of W. Robert Morgan (rancher, lawyer, art patron, and founder of the Triton Museum of Art in Santa Clara, California).By familial descent to the previous owner.Private collection, California.ProvenanceW. Robert Morgan collection, Santa Clara, California, and by familiar descent to the previous owner.Private collection, California.ExpositionsAthens, Exhibition Hall of the Parnassos Literary Society, group exhibition, April 21 - May 1885.LittératureEstia magazine, no. 486, April 21, 1885, btw pp. 282-283 (illustrated).Deltion tis Estias, no. 434, April 21, 1885, pp. 1, 2 (mentioned).Epetiris Filotechnon yearbook, Athens 1901 (illustrated).Pinakothiki magazine, no. 42, August 1904, p. 110 (illustrated).Efimeris ton Kyrion magazine, no. 977, April 15-30, 1909, p. 929 (illustrated).K.F. Skokos, Ethnikon Imerologion of the Year 1910, Athens 1910, p. 202 (illustrated). Miniaia Epitheorisis magazine, no. 8-9, February-March 1924, p. 9 (illustrated).Athinai magazine, no. 4, celebratory issue, January 1935, p. 77 (illustrated).N. Athanassoglou-Souyoutzoglou, The Painter Nikiphoros Lytras (1832-1904), doctoral dissertation, Athens 1976, fig. 81 (mentioned).I. Bolis, The Art Exhibitions, The Artists and their Audience in 19th Century Athens, doctoral dissertation, Aristotle University of Thessaloniki, Thessaloniki 2000, p. 167 (mentioned).A. Sarafianos, P. Ioannou ed., Research Issues in Art History, Assini editions, Athens 2016, p. 517 (discussed and illustrated).A wonderful vignette of rural life, Girl washing her hair perfectly illustrates the artist's adherence to traditions deeply rooted in the Greek folk culture. As Lytras used to say, 'the customs of the Greek people brought Independence and must be protected like the apple of one's eye. Artists should devote themselves to genre painting and to works that are related to what stirs, delights and educates the people.'1The two figures are kept close to each other, adhering to the firm compositional structure championed by the masters of the Munich School, especially Karl von Piloty, under whom Lytras studied at the Royal Academy of Fine Arts. In terms of style, however, form is simplified, drawing loosens up and surfaces are handled with broader brushstrokes, achieving unity of effect and pointing to the artist's ability to shift from the descriptive to the pictorial.Despite the secular subject, the scene is endowed with a sense of monumentality and solemn grandeur accentuated by a limited palette of subdued and unvaried hues that perfectly match the austerity of the setting. This evocation of noble sentiment and archaic simplicity promotes a world of everlasting values, conveying to the viewer a sense of nostalgia for an age-old, uncorrupted world of firm beliefs and pure feelings. Often referred to as the Patriarch of Modern Greek painting, Lytras enjoyed an illustrious career, while his works attracted a dedicated and ever-growing clientele. Period records indicate that his paintings were owned by such prominent collectors as A. Benakis, D. Loverdos, Mrs. Serpieri, M. Melas, G. Embirikos, P. Kalligas, G. Stringos and Mrs. Choremis. Many of his works still remain unlocated, known only through old photographs or period references. As noted by art historian E. Gemtou, 'though demand for Lytras's work is constantly rising, the supply is extremely limited.'2 1 Y. Kerofylas, Nikiforos Lytras, Patriarch of Modern Greek Painting [in Greek], Filippotis editions, Athens 1997, p. 57.2 E. Gemtou, 'Lytras in the Art Market' [in Greek], Kathimerini daily, Epta Imeres, March 3, 1999, p. 29.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)Hommage à Parthenis signé en grec et daté '67' (en bas à droite)huile sur toile55 x 46cm (21 5/8 x 18 1/8in).Peint en 1967.signed in Greek and dated ( lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 911, p. 353 (illustrated), p. 497-498 (catalogued), p. 498 (illustrated).I had the good fortune to apprenticeunder Constantinos Parthenis.Working with him I studied nature andgrasped the importance of line and colour.N. Engonopoulos1 An unconventional, modern-day Orpheus, with cool sunglasses and rock-star hairstyle in a dazzlingly yellow chlamys, plays his lyre standing between a tall building that echoes similar structures in works by C. Parthenis2 and a robust tree trunk that conveys an equally commanding presence. The scene is crowned by two Greek flags, fluttering in the morning breeze against a luminous sky, and a set of the artist's signature clouds3 traveling over a dazzling, enamel-blue sea. Orpheus, the archetype of the poet as liberator and creator, held a particular fascination for Engonopoulos, who depicted him many times over a period of more than thirty years, often adopting him as his own persona. Lean and elegant, he is reminiscent of the Minoans immortalised on the Knossos frescoes while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.4 Parhenis, the artist's revered teacher at the Athens School of Fine Arts, was extensively involved with the hero. Implementing unexpected juxtapositions and undermining accepted norms of narrative cohesion, the artist creates a dreamlike atmosphere, introducing the viewer to an enigmatic world of poetic metaphor. The coexistence of mythical past and modern reality sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's resolve to probe into the inner world of Greekness. He transports us from ancient/mythical times to the present say, using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration.5 This persistence on indigenous cultural experiences combined with a deep sense for history clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity.'6 As perceptively noted by art historian N. Loizidi, 'Engonopoulos formulated a new mythology, giving us some imaginative and creatively unorthodox interpretations of Greek myths enriched by the 'objective humour' and method of irrational surrealist expression.'7 1 N. Engonopoulos, as quoted in Epitheorisi Technis magazine, March 1963, pp. 193-197.2 See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vo. 1, Athens 2002, p. 793 The travelling clouds seen through the rectangular opening on the background wall recall the verses from the artist's poem Orpheus: once - while the sun / was setting - / he noticed up in the sky's blue / enchanting oblong / clouds / - about which in Kavouri a gendarme / as if repentant once exclaimed: / 'lo and behold, Engonopoulos's clouds!' 4 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.5 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos publ., Athens 2006, p. 228. 6 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.7 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 144.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

Constantinos Parthenis (Greek, 1878-1967)Pin signé 'C.Parthenis' (en bas à droite)huile sur toile54.5 x 60cm (21 7/16 x 23 5/8in).signed (lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zappeion Hall, Parthenis Exhibition, January-February 1920 (based on an exhibition photograph published in E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, p. 65).The music of colours, first introduced by Klimt,was taken up only by Parthenis among Greek artists. Pinakothiki journal, January 1904.1Parthenis was one of the first artists to infuse the forces of renewal in Modern Greek painting, distancing it from academic pictorial formulas and turning it towards liberal artistic movements and avant-garde trends. Reviewing the artist's legendary 1920 Parthenis retrospective at the Zappeion hall, Athens National Gallery Director Z. Papantoniou noted: 'Parthenis masterfully applies the innovative technique of 'optical mixture' in which pigments instead of being mixed on the palette are directly applied on the canvas to be mixed by the spectator's eye at a certain distance from the picture.'2 This pulsating pointillism is perfectly evident in Pine Tree, producing a shimmering effect and charging the picture with vibrant energy. Throughout, Parthenis used his distinctive parallel strokes and sharp vertical touches with great confidence and freedom to capture the power and variable pulse of the landscape. The viewer's eye follows the darting movements of his brush, as successive touches of colour are seized upon and added to the picture surface.Moreover, the elegant shapes, sinuous lines and wonderful rounded tree forms that instantly bring to mind the handling of foliage in his famous Slope at the National Gallery in Athens, show how the painter exploited the expressive nature of his formal repertoire to offer a poetic, idealised experience of the landscape. As noted by Z. Papantoniou, 'Parthenis's landscapes take us to the world of ideas. His eye sees into the ideal, as ours does into the natural. The humblest of his trees reveals a thought.'3 The work should be dated from the early 1900s, just before or after the artist's return to Athens following his seven-year stay (1897-1904) in Vienna.4 In this great centre of European modernism Parthenis became familiar with Viennese Jugendstil and especially the work of Gustave Klimt. The poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist5 (compare G. Klimt, Roses under trees, c. 1905, Musée d'Orsay, Paris). 1 See also E. Mathiopoulos, 'The reception of Parhtenis' Work' in Art Grows Feathers in Pain [in Greek], Potamos editions, Athens 2005, pp. 574-594. 2 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.3 Ibid.4 Compare C. Parthenis, Misty lake, sold by Bonhams, Greek Sale, May 15, 2007, lot 83.5 The square format Parthenis used here played a central role in Viennese Jugendstil and perfectly suited Klimt's search for peace and balance. It was also used by Monet to increase the feeling of tranquillity, and to direct attention on the orchestration of the colours and harmonies within the painting. See S. Koja, Gustave Klimt Landscapes, Prestel editions, New York 2006, p. 61.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)Garçon couché signé en grec et daté '54' (en bas à droite)huile sur toile20.5 x 34cm (8 1/16 x 13 3/8in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceIolas Gallery, New York.Private collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, May 1972.Nicosia, KEMA Hall, 16 Contemporary Greek Artists, December 18-27, 1986.Tsarouchis's pursuit of realist clarity and truthfulness of vision is described by the words of poet Andreas Embeirikos: 'Truth in the work of Tsarouchis is distilled and explosive like thunder, uninfluenced by any sort of dogmatism, either that of a school or of an accepted morality or aesthetic. This fundamental independence is so apparent that even his most 'clothed' images always appear to be utterly 'nude'.1 In his Reflections,Tsarouchis mentions the writings of archaeologist C. Tsountas who referred to the ideal nudity of ancient Greek sculpture and specifically to that of the 'regiment' of the two Tyrannicides who are stark naked, even though no citizen was in the nude during the Panathenaic Games.'2 As argued by 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.3 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.'4 For both Kapetanakis and Elytis, Tsarouchis's male figures are invested with a symbolic value that carries on the humanistic ideal of Ancient Greece, while at the same time expressing the spirit and reality of Modern Greece.5 Here, the shallow compositional structure coupled with a stage designer's perception of space, which played a pivotal role throughout Tsarouchis's career, build up an edifice of pure forms, an everlasting world liberated from the fleeting moment, imaginatively transforming the reclining youth into a protagonist of a Modern Greek narrative.A towering figure of 20th century Greek art Yannis Tsarouchis was also an intellectual who courageously faced ideological challenges and biased ethical practices in Greek society of his time that included homophobia. It was only in the last years of his life that studies addressed homosexuality in his painting. And it wasn't until the turn of the century that scholars6 could write unequivocally about the homoeroticism in his work and highlight its determinative role in the artist's evolution.7 1 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, p. 11. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, p. 92. 2 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.3 D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937 as reprinted in Tsarouchis [in Greek], Zygos, Athens 1978, p 6. 4 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.5 See E. Florou, Tsarouchis - Painting, [in Greek] (doctoral dissertation) vol. 1, Athens 1989, p. 118.6 N. Hadjinikolaou, 'Yannis Tsarouchis' [in Greek], in Figures of the Twentieth Century, Ta Nea - Livanis editions, Athens 2000, pp. 517-518.7. See E.D. Matthiopoulos, 'In Search of Divine Lightning' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 251-267.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

Chryssa (Vardea) (Greek, 1933-2013)New York City Scape (41) signé et daté 'Chryssa/1972' (sur etiquette de plexiglass en bas à droite)sculpture avec néons en boit de plexiglas100 x 64 x 25cm (39 3/8 x 25 3/16 x 9 13/16in).signed and dated (on the plexiglass label lower right)sculpture with neon lights in plexiglassFootnotes:ProvenancePrivate collection, Athens. ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 41 (illustrated in the exhibition catalogue).Chryssa's New York cityscapes from the early 1970s rank among her most extraordinary works, featuring majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis. The glamorous illusion of the curving electrified neon tubes and the visible technology of circuitry enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add another dimension to the game of illusionism, compelling the viewer to experience the work as both absence and presence. The end result is a manifestation of intelligibility and coherence that conveys a classical sense of structure, proportion, and clarity.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

Chryssa (Vardea) (Greek, 1933-2013)New York City Scape (42) signé et daté 'Chryssa/1972' (sur etiquette de plexiglass en bas à droite)sculpture avec néons en boit de plexiglas100 x 64 x 25cm (39 3/8 x 25 3/16 x 9 13/16in). signed and dated (on the plexiglass label lower right)sculpture with neon lights in plexiglassFootnotes:ProvenancePrivate collection, Athens. ExpositionsParis, Galerie Denise René, Chryssa, 1970s (based on label).Athens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 42 (illustrated in the exhibition catalogue).Chryssa's New York cityscapes from the early 1970s rank among her most extraordinary works, featuring majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis. The glamorous illusion of the curving electrified neon tubes and the visible technology of circuitry enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add another dimension to the game of illusionism, compelling the viewer to experience the work as both absence and presence. The end result is a manifestation of intelligibility and coherence that conveys a classical sense of structure, proportion, and clarity.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Alecos Fassianos (Greek, 1935-2022)Nicola e il fantasma/ Les passants/ Le spectacle signé 'A. Fassianos' (en haut à gauche)huile sur toile162 x 130cm (63 3/4 x 51 3/16in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ProvenanceIolas Gallery, Milan (based on labels on the reverse). Private collection, Athens.ExpositionsVenice, XXXVI Esposizione Biennale Internationale d'Arte, Greek Pavilion, Fassianos, Mytaras, Panourgias, Piladakis, June 11 - October 1, 1972 (based on label on the reverse). LittératureFassianos, Kedros editions, Athens 1980, p. 104 (listed), p. 47 (illustrated), back dust jacket (illustrated).T. Spiteris, Art in Greece after 1945, Odysseas editions, Athens 1983, no. 25 (illustrated).Erourem nagazine, no. 4, March 1996, pp. 131, 171, 177, 194 (details) (illustrated).Mandragoras magazine, no. 28, September 2002, p. 17 (illustrated).Full of life and vibrancy, monumental yet familiar, universal yet quintessentially Greek, Fassianos's ubiquitous rider looks as immobile and eternal as a relief sculpture on an Doric metope, demonstrating the artist's power to seize the eternity of the moment through timeless forms.Captured in sharp profile and set against a solid background, the emblematic rider and the 'passants' below are remoulded into archetypal figures echoing the timeless forms of ancient Greek vase iconography. As noted by French writer J. Lacarriere, 'like in ancient pottery, Fassianos's modern figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'1 Likewise, Jean-Marie Drot, former Director of the French Academy in Rome notes: 'Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 Magnificent in its simple grandeur and utterly characteristic in style and sentiment, this top quality work encompasses the defining elements of Fassianos's unique expressive language, unfolding the qualities that established him as a master of contemporary figurative painting.1 J. Lacarriere, 'A Shadow Play' in Fassianos - Mythologies of Everyday Life, exh. cat., National Gallery - A. Soutzos Museum, Athens 2004, p. 24.2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)Le vendeur à crédit le vendeur au comptant titré en grec (en haut)pigments naturels sur zinc50 x 71cm (19 11/16 x 27 15/16in).Peint en 1926.titled in Greek (upper part) natural pigments on zincFootnotes:ProvenanceD. Taktikos collection, Mytilene.Christie's Athens, Greek Sale, 15 December 1998, lot 37.Acquired from the above sale by the present owner. *Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 8 au 10 novembre 2023. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 8-10 November 2023. This work will be located in Athens during the auction.ExpositionsAthens, Hellenic American Union, An Exhibition of Murals and Paintings by Theophilos, March 17 - April 10, 1970, no. 23 (listed in the exhibition catalogue).Athens, Galerie 3, Theofilos, February 1982, no. 19 (listed in the exhibition leaflet).LittératureRoptro tou Volou magazine, no. 9-10, May-August 1994, p. 64 (illustrated).Like many great masters from the past, Theofilos was by no means reluctant to draw his iconography from earlier paintings, lithographs, postcards or book illustrations, source material he nonetheless ingenuously reworked to fit his own vision. Here, his picture is based on a popular colour lithographic print that used to hang in many village stores around Greece in days of yore leaving little doubt on how their owners felt about consumer credit: he who sells for cash grows rich while he who sells on credit grows poor.Theofilos adhered closely to his model, especially in terms of space organisation, representational motifs, and compositional structure, with the man on the right enjoying his wealth while the other going bankrupt and living in sheer poverty. Despite these obvious borrowings, however, he treated the subject in his own terms, transforming the same scene into a completely new aesthetic experience. As noted by the art critic A. Xydis, 'the transformation of academic prints into true masterpieces is ample proof of Theofilos's wisdom. In most of his works he never succumbed to the conventionality of his original sources.'1 This picture was painted in 1926, the year Theofilos returned to his native island of Mytilene following a forty-year odyssey. There, his imaginary universe, which had crystallised on the walls of village houses and shops around Mt. Pelion, came back to life in a new and delightful manifestation. As noted by N. Matsas, 'on Mytilene, Theofilos enjoyed a very creative and prolific period, during which he painted some of his best works.'2 1 A. Xydis, Proposals for the History of Modern Greek Art [in Greek], vol. I, Athens 1976, pp. 36-38.2 N. Matsas, The Tale of Theofilos [in Greek], Estia editions, Athens 1978, p. 153.For further information on this lot please visit Bonhams.com

Theodoros Stamos (Greek/American, 1922-1997)Three Kings, 1949 signé et daté 'T.Stamos 49' (en bas à gauche); titré, signé et daté 'THREE KINGS'/Stamos/1949' (au revers)huile sur masonite74.6 x 95.5 cm (29 3/8 x 37 5/8in).signed and dated (lower left); titled, signed and dated (on the reverse)oil on masoniteFootnotes:ProvenanceAndré Emmerich Gallery, New York.Acquired from the above sale in 1961 by J.D. Murchison.Galerie Pudelko, Bonn (1990-2010).ExpositionsCentro Culturale Candiani, Mestre, Italy, Jackson Pollock: The Irascibles and the New York School, March 23–30 June 30, 2002.Hollis Taggart Galleries, New York, Why Nature? Hofmann, Mitchell, Pousette-Dart, Stamos, October 30–December 6, 2014.Octavia Art Gallery New Orleans, Pop Abstraction, August 6–September 24, 2016.Hollis Taggart Galleries, New York, Theodoros Stamos: Contemplations on the Universal, January 26–March 4, 2017, no. 5.Hollis Taggart, Southport, CT, Line, Shape, Color, and Form, November 6–December 11, 2021. LittératureBruno Alfiere and Achille Bonito Oliva, Jackson Pollock: The Irascibles and the New York School (Milan: Skira, 2002), p. 221.Why Nature: Hofmann, Mitchell, Pousette-Dart, Stamos (New York: Hollis Taggart Galleries, 2014), pl. 16. Theodoros Stamos: Contemplations on the Universal (New York: Hollis Taggart Galleries, 2017), pl. 5.Ratcliff, Carter, 'Living Color,' Art & Antiques, November 2017, illus., cover and p. 72.Theodoros Stamos explored myriad nature-based interpretations throughout his career, ultimately developing a modern aesthetic that celebrated the sublime supremacy of this subject. Recognized as one of the 'Irascibles' featured by Life Magazine in 1951, Stamos was the youngest of this first generation of Abstract Expressionists.Throughout his career Stamos explored the rich potential of primeval forms, rendering evocative paintings such as Three Kings, an early primitivizing image that demonstrates the artist's fascination with inchoate forms and primordial forces. The dark shapes suggest geologic strata, simultaneously organic and archaic. Three Kings evokes a modern investigation of ancient ideas surrounding cycles of birth, death, and growth–both biological and spiritual. The title suggests Christian heritage; Stamos was an enthusiastic student of the world's belief systems and would visit Jerusalem three decades later. He was also interested in natural history; as he explained in a 1947 article in the journal Tiger's Eye, 'I am concerned with the Ancestral Image which is a journey through the shells and webbed entanglements of the phenomenon. The end of such a journey is the impulse of remembrance and the picture created is the embodiment of the Ancestral World that exists on the horizon of mind and coast.'1 Through the materials of painting, Stamos aimed to capture vivid, momentary sensations. In 1936, at the age of 14, Stamos was awarded a scholarship to study sculpture at the American Artists' School in New York. Through his early training there, Stamos was introduced to many active artists in New York, such as Mark Rothko, William Baziotes, and Adolph Gottlieb, all of whom were founding members of the avant-garde group known as 'The Ten.' By 1939 Stamos had dedicated himself to painting, entirely self-taught, and displayed an early interest in the American artists Milton Avery and Arthur Dove.To support himself in the early years of his career, Stamos worked in a frame shop on 18th street, from 1941-1948, which offered exposure to the art of Paul Klee and Arshile Gorky in addition to well-known contemporary artists practicing in Manhattan. Although his work from the forties bear a striking resemblance to the biomorphism of Gorky or of Joan Miró, Stamos emphasized his admiration for the early American abstractions of Dove whom he saw as a 'spiritual father.' Noted art dealer Betty Parsons discovered Theodoros Stamos in 1943 and offered him his first solo show at the Wakefield Gallery at the age of 21, with Barnett Newman writing the introduction. He would go on to exhibit at the Betty Parsons Gallery from 1947-1956, a key venue for contemporary American art. The artist's early works reflected an expanding interest in natural history and eastern ideas. With bookshelves populated by Seaside Studies in Natural History and The Wisdom of the East, Stamos emphasized oneness with landscape, both an American and an Eastern idea, in his 'memory pictures.'The late 1940s was an important period for Stamos. The Museum of Modern Art purchased his painting Sounds in the Rock in 1947, and Betty Parsons included Stamos in her exhibition, The Ideographic Picture, organized by Newman the same year. Along with Newman, Stamos was shown alongside Hans Hofmann, and Mark Rothko. Included in the show were Stamos's paintings Sacrifice and Imprint, both titles addressing the themes of ancient growth and primitive impulses suggested in Three Kings. As Newman wrote in the introduction for the catalogue accompanying the younger artist's solo exhibition at Betty Parsons that same year: 'Stamos redefines the pastoral experience as one of participation with the inner life of the natural phenomenon...One might say that instead of going to the rock, he comes out of it.'2Betty Parsons echoed this association with the earth, describing Stamos as 'very, very intrigued with everything that came out of the earth or went into the earth.' 3A lover of travel, in 1947 Stamos travelled throughout the United States, visiting New Mexico, California, and the Northwest. During this period he painted watercolours filled with stones and plant clippings observed in his travels. In 1948 he sailed for Europe, visiting France, Italy, and Greece. In Paris he met many of the renowned modernists including Picasso, Brancusi and Giacometti. Always sensitive to the particularities of light, mood, and colour of specific locales, Stamos's paintings are indexes of his responses to different places. Later in his career, he devoted several series of paintings to sites including Jerusalem, Delphi, and Lefkada, an island in the Ionian Sea and birthplace of his father. These later works continue the early flattening of space and simplification of form evident in Three Kings. 1 Theodoros Stamos, 'Artists Statement,' Tiger's Eye (1947), quoted in Lisa M. Messinger, 'Twentieth Century Art,' The Metropolitan Museum of Art Bulletin, Vol. 49, No. 2 (Autumn, 1991), 63.2Barnett Newman, 'Introduction,' The Ideographic Picture (New York: Betty Parsons Gallery, 1947), 1.3 Barnett Newman, Stamos (New York: Betty Parsons Gallery, 1947) in Barnett Newman: Selected Writings and Interviews, ed. John O'Neill (Berkeley: University of California Press, 1990).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Constantinos Parthenis (Greek, 1878-1967)Alentours de l'Acropole signé et daté 'C. Parthenis 1909' (en bas à gauche)huile sur toile80 x 85cm (31 1/2 x 33 7/16in).Peint en 1909.signed and dated (lower left)oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner.ExpositionsParis, Galerie de la Boétie, Group Techni (Oeuvres d'un Groupe d'Artistes Héllènes), September 1-30, 1919, no. 98.Athens, Athens Technological Institute exhibition hall, Exhibition of Paintings by C. Parthenis, January 26 - February 9, 1966, no. 20 (listed in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Metamorphoses of the Modern, The Greek Experience, May 14 - September 13 1992, no. 6 (illustrated in the exhibition catalogue p. 33). Athens, National Gallery - Alexandros Soutzos Museum, Constantinos Parthenis, Painting an Ideal Greece , June 20, 2022 - April 9, 2023 (illustrated in the exhibition catalogue, p. 163). LittératureC. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963 (illustrated).Y. Tsarouchis, 'The Work of Parthenis', speech delivered at the Athens Technological Institute on February 2, 1966 (mentioned). Nea Estia magazine, no. 927, February 15, 1966, pp. 232, 268 (discussed).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).The Greek Painters, 20th Century, vol. II, Melissa editions, Athens 1975, pp. 19-20, 23 (discussed), p. 35, fig. 18 (illustrated).Xydis, Propositions for the History of Modern Greek Art, vol. I, Olkos editions, Athens 1976, pp. 75-76 (discussed).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, p. 363 (discussed).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 220 (mentioned).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 110 (mentioned), p. 161 (listed).A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, pp. 59, 206 ft. ie (mentioned).Landscapes of Greece by Parthenis, 1984 Calendar / February, National Bank of Greece, Athens 1983 (illustrated).C. Christou, Konstantinos Parthenis, Vienna-Paris-Athens, (exhibition catalogue), Foundation for Hellenic Culture - Vienna Academy of Fine Arts, Athens 1995, pp. 23, 24 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, p. 829, ft.199 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 472 (mentioned).A. Kotidis, Constantinos Maleas, Adam editions, Athens 2000, p. 61 (mentioned).A. Kouria, Michalis Economou, Adam editions, Athens 2001, pp. 119, 126 fn.35 (discussed), p. 120 (illustrated).K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. I, p. 178 (mentioned), vol. III, 674 (catalogued), vol. reproductions I, pl. LXXVII (illustrated).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 47-50, 97-99 (discussed), pp. 44-45, 46, 47 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 74, p. 66 (mentioned), p. 418 (catalogued), p. 163 (illustrated).Parthenis is not a painter who depicts nature.He is a painter who interprets nature. Z. Papantoniou1A Parthenis masterpiece, as iconic and breathtaking as Slope and the Port of Kalamata at the Athens National Gallery, Alentours de l'Acropole is a powerful landscape unleashed in paint. The creative force and freedom in the handling of colour finds its match in the boldness of execution, creating a pictorial formulation that lies at the core of his achievement as a painter. Setting his easel outdoors, Parthenis radically simplified nature to concentrate on chromatic and painterly matters. Rather than striving for topographical accuracy or resorting to the picturesque, he relied exclusively on purely pictorial means to capture the exuberance and zest of Attica's nature. Although he painted the view in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. The Parthenon, this classical masterpiece and symbol of everlasting value, blends in harmoniously with the violet luminosities and variable pulse of the surrounding landscape, underscoring its infinite and eternal nature. Parthenis treats the monument not as a lifeless relic of ancient glory but as a living organism; a form of eternity constantly reborn in the present. In his hands the Parthenon becomes a verse of lyric poetry. In such an evocative setting inhabited by dematerialised forms and charged with timeless references, painting is lifted to the realm of music, the most immaterial of all arts. Every part of the landscape is animated by colour and lit by grace, endowing the composition with an allegorical evocation, elegiac feel, and universal character. Land, monument and sky come together, with sharp outlines, bold colouring, and cooler and warmer tones producing a rhythmic outcome. To make such an irresistibly beautiful and at the same time well-formulated picture, Parthenis drew from the colour expressionism of the fauves and Cezanne's use of paint as a structural element. While the work of Cezanne taught him compositional discipline, Gauguin and the Pont-Aven School encouraged him to focus on the expressive use of line and elevate the horizon, extending the pictorial surface to the limits of the canvas without the illusion of receding space. Much like the post-impressionists, Parthenis was interested not only in delivering a fabric of brushstrokes and colour marks but also in weaving together light and structure in a unified pictorial experience.Suffused with eternal light, Alentours de l'Acropole transcends the fleeting sensations of the impressionist glance to remould the luminous landscape by means of pure colour's suggestive force. The artist's perceptive handling of the natural environment, combined with a poetic interpretation of visual reality come together in a work of great artistic sensitivity, poetic charm and spiritual uplift. This seminal work claims the eye and provokes the viewer's emotional participation, reflecting the vision of an artist loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century.2 1 Z. Papantoniou, Valkanikos Tahydromos newspaper, May 11, 1920.2 See D. Papastamos, Painting 1930-1940, Astir Insurance edition, Athens, 1981, p. 68.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

Pavlos (Pavlos Dionyssopoulos) (Greek, 1930-2019)Champs papier d'affiches sur bois170 x 298 x 5cm (66 15/16 x 117 5/16 x 1 15/16in).Réalisé en 1983.poster paper on woodFootnotes:ProvenanceThe artist's collection, Athens. Private collection, Athens.ExpositionsParis, Chapelle de la Sorbonne, Pavlos 30 Ans de Papier, September 17 - October 18, 1992 (illustrated in the exhibition catalogue, p. 219).Thessaloniki, Macedonian Museum of Modern Art - Helexpo, Pavlos Dionyssopoulos, May 29 - August 17, 1997 / Athens, Athens School of Fine Arts - 'The Factory', Pavlos Dionyssopoulos, October 22 - December 12, 1997 (illustrated in the exhibition catalogue, p. 219). LittératureM. Benayoun, Pavlos, Linda et Guy Pieters editions, Belgium 2008, p. 412 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

An Extremely Rare Peascod DoubletMid-Late 16th Century, Probably French Or EnglishOf fine hide, probably doeskin, padded with coarse sheep's wool and intended to withstand light attack or to be worn with a peascod breast-plate, ribbed over the chest, shoulder-wings and collar, the back over the shoulders, the panel over the rear and the vented skirts all with chevroned ribbing, the central panels front and rear of converging ribs cut with slash-work lined in burgundy velvet, chainstitched overall in silver-gilt threads and edged with bullion gimp, fastening at the neck with six gilt filigree buttons (tarnished), and over the stomach with eight embroidered and bullion thread buttons (one missing), the sides with pairs of holes for later laces (old damage restored and conserved over time): on a modern torso covered in black fabricFootnotes:ExhibitedSotheby's London, exhibition catalogue English Silver Treasures From The Kremlin, A Lone Exhibition, 1-28 January 1991, pp. 86-87, no. 57 (illustrated in colour)During previous conservation at the Royal School of Needlework, Hampton Court, the lining was analysed and found to be of coarse sheep's wool in which many large dead fleas were discoveredCf. a related doublet with family provenance to the descendants of the Mutte de L'Espinette family, sold Thierry de Maigret, Drouot, Paris, 1 June 2018. See also another example formerly in the Bashford Dean Collection and now in the Metropolitan Museum of Art, New York, inv. no. 29.158.175For further information on this lot please visit Bonhams.com

An Extremely Rare 33-Bore Flintlock Breech-Loading Repeating Magazine Pistol On The Lorenzoni Principle By H.W. Mortimer, London, Gun-Maker To His Majesty, Circa 1790With swamped octagonal barrel (old patch of pitting) signed in full in capitals along the top flat and engraved with a slender band of repeated foliage at the breech, pivoting fore-sight, border engraved rounded action and bevelled back-action lock, the former finely decorated with a starburst around the upper gas-escape and with a flower-head around the lower suspended from a ribbon, a garland beneath entwined around the trigger-guard, the latter signed on a ribbon held in the mouth of a lion in a landscape, a prone lioness nearby, replacement cock automatically cocked via a flat bar on the inside engaging with a circular breech-block and operated by a curved side-lever of tapering circular section with button terminal, hinged primer magazine cover (replaced) with spring-catch and engraved with a flower, border engraved tang plate decorated with a classical trophy of arms, hinged magazine cover for balls on the left engraved with a garland suspended from two ribbons against crossed palms, the tail behind engraved 'GUN MAKER TO HIS MAJESTY' in an oval against an Eastern trophy and foliage, trigger-guard engraved en suite on the bow, chequered rounded butt carved with spirally-fluted pommel and flower-head shaped cap, and border engraved vacant silver escutcheon (old light rust patination) 25.5 cm. barrel Footnotes:ProvenanceChristie's East, Fine Antique And Modern Firearms From the Estate of Dr. Jack Strassman, 21 May 1986, lot 346H. Lee Munson CollectionOlympia Auctions, Antique Arms, Armour & Militaria, 4 December 2019, lot 394LiteratureH. Lee Munson, The Mortimer Gunmakers 1753-1923, 1992, pp. 237-238A similar example by the same maker and built for Vice Admiral Lord Nelson is in the Metropolitan Museum of Art, New York (acc. no. 35.81.3). See also the only known example in its original case in the Royal Armouries, Leeds (inv. no. XII. 4750). Howard L. Blackmore, English Pistols, 1985, p. 25, figs. 45 and 46For further information on this lot please visit Bonhams.com

* Ruskin (John, 1819-1900). English writer, art critic and artist. Autograph Letter Signed with initials 'J. R.', Venice, 13 May 1869, on embossed Denmark Hill letterhead, to Ned [Edward Burne-Jones], revealing his new enthusiasm for the artist Carpaccio, 'There's nothing here like Carpaccio! There's a little bit of humble pie for you. Well. The fact was, I had never once looked at him; - having classed him in glance and thought with Gentile Bellini and other men of the more or less insipient and hard schools. - And Tintoret went better with clouds and hills. But this Carpaccio is a new world to me; only you have no right to be so fond of him...', with a daggered footnote about Tintoret, 'I don't give up my Tintoret - but his dissolution of expression into drapery and shadow is too licentious for me, now', and concluding that he is going that morning to the Academy to see 'your St George of the Schiavoni', 2 pages on rectos of his Denmark Hill letterhead, a little soiling and paperclip indentation to upper margin not affecting text or signature, 8vo, tipped into an old autograph dealer's gilt-titled grey folder, 4toQTY: (1)NOTE:Ruskin's attention was first seriously drawn to Vittore Carpaccio (1465-1525) by Edward Burne-Jones after the completion of his monumental Modern Painters (1843-60). This letter is quoted in a footnote in The Works of John Ruskin edited by E. T. Cook and Alexander Wedderburn, London: George Allen, 1903-12, 4.356; and there is a detailed essay titled 'Ruskin and Carpaccio', Works, 24.xlviiiff. which collates all of Ruskin's references to Carpaccio.

* Mullaly (Terence, 1927-2020). A large archive of approximately 3,000 photographs of paintings and artworks, c. 1960s and later, all black & white press and agency photographs of mostly modern art and design, European pictures of all periods, taken from galleries and auctions, including Picasso, Brueghel, 15th - 18th century Spanish artists, Italian Sculpture, etc., all with printed details on paper labels tipped to versos, some with additional pen or pencil markings, credit stamps including Fototeca Mullaly, etc., mostly 20 x 25 cm and similar sizes, largely organised by genre in unlabelled suspension files and partly contained in a metal filing cabinet drawerQTY: (2 cartons & drawer)NOTE:The scholar and art critic Terence Mullaly was educated in India, England and Canada. After graduation from Cambridge University he made several archaeological excavations in Tripolitania and Sicily. He became the Daily Telegraph's art critic, writing for them from 1956 to 1987. He was a leading expert in Veronese art and was a regular contributor to the Burlington Magazine and Old Master Drawings art journals. The archive here covers art from the Italian Renaissance to the twentieth century.

HORROR & FANTASY, card selection, inc. complete, King Kong, Melting Pot, Boris Vallejo Art, Jason Goes To Hell etc., in large modern album, VG to EX, Qty.

POSTCARDS, mixed selection, many modern issues, inc. art, shipping, animals, flowers, history, travel, some foreign issues etc., many used with stamp & postmark, FR to VG, 500*

JEWELLERY BOOKS - CONTEMPORARY DESIGNERS COMPRISING; Art of a Jewel, Glenn Spiro, Assouline Publishing, New York 2019 Cipullo: Making Jewelry Modern, Remato Cipullo and Vivienne Becker, Assouline Publishing, New York 2021 Daring Creativity, Vivienne BEcker, Assouline Publishing, New York 2017 David Webb: The Quintessential American Jeweller, Ruth Peltason, Assouline Publishing, New York 2013 David Yurman - Cable, David Yurman, Rizzoli International Publications, Inc., New York 2017 Michele Della Valle: Jewels and Myths, Antique Collectors' Club Ltd., 2014 Nardi: Venezia Nicholas Foulkes, Assouline Publishing, New York 2012 Shaun Leane, Shaun Leane, ACC Art Books Ltd, 2020 (8) The largest: 35.5cm x 26cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

TASCHEN: A COLLECTION OF ART REFERENCE BOOKS (QTY)Modern The selection to include boxed sets titled Modern Architecture, Van Gogh, Gauguin, a silk bound book on Hiroshige, The Grand Tour, Gaudi, Caravaggio, Gustav Klimt, a three book set on Keiichi Tahara Architecture Fin-De-Siecle; Together with a selection of other art reference bookCondition report:All in good used condition, with small marks or scuffs to the covers or scuffs to the edges. See additional images. 

After Alphonse Mucha (Czech, 1860-1939), four modern Art Nouveau prints on paper, comprising: 'Daydream', 90cm x 60cm; 'Le Jour', 'Le Matin' and 'Le Soir', each 89cm x 29cm; each framed and glazed, with two further modern Art Nouveau advertising prints for 'Champagne Pommery', 99.5cm x 69cm; and 'Bieres De La Meuse', 99.5cm x 69cm; each framed and glazed (6)

Sir George Clausen, RA RWS,  British 1852-1944- Study for 'Sunday Morning'; charcoal on paper, signed and dated 'G. Clausen 1881' (lower left), 19.6 x 28.1 cm. Provenance:  Anon. sale, Bonhams, Bury St. Edmunds, 14 September 2005, lot 285, titled 'Dutch peasants at prayer' (£1,500 hammer).  with Abbott & Holder Ltd., London.  Private Collection, UK. Literature:  Wilfrid Meynell, ed., 'The Modern School of Art', vol. IV, n.d. (circa 1887), p.127 (illustrated).  Kenneth McConkey, 'George Clausen and the Picture of English Rural Life', Atelier Books, 2012, p.38 (illustrated) and p.214. Note:  The present work was reproduced as a print in the 'Magazine of Art, Vol. IV' in 1881, with Clausen creating a number of drawings for this purpose over the course of his career. Whilst the originals of Clausen's other drawings for print have been found, such as 'Winter Work', which appeared in 1982, and 'Gleaners', which was offered at Christie's in 2004, the original oil of 'Sunday Morning' is currently untraced. Clausen's work from the 1870s and early 1880s very much reveals the influence of The Hague School on the artist. His travels to Volendam in the Netherlands undoubtedly informed the subject-matter and approach of his paintings and studies from this period, just like in the present work, which depicts figures at prayer in what appears to be a rural Dutch fishing village. Clausen worked in the studio of Edwin Long (1829-1891), before travelling to Paris, where he studied at the Académie Julian, under William-Adolphe Bouguereau (1825-1905) and Tony Robert-Fleury (1837-1911). He went on to become a founding member of the New English Art Club in 1886 and Master of the Art Workers' Guild in 1909, alongside his position at Professor of Painting at the Royal Academy. 

Giovanni Paolo Panini,  Italian 1691-1765- View of Piazza Colonna with the Column of Marcus Aurelius, Rome; black chalk, pen and grey ink and watercolour on laid paper, watermark fragment fleur-de-lys with a crown, signed with initials ‘G.P.P.’ and indistinctly inscribed (lower left), further inscribed 'P.H.' (lower right), 25.3 x 36 cm. Provenance:  William Esdaile (1758-1837), London;  His sale, Christie's, London, 20 June 1840, lot 450 (2 gns to Hogarth).  Unidentified collector's mark P. H. (L. 2084).  Lore and Rudolf Heinemann, New York;  Their sale, Christie's, London, 1 July 1997, lot 75.  with Kate de Rothschild, London (Master Drawings, July 2001, no.11, illustrated).  Private Collection, Europe. Exhibited:  New York, The Pierpont Morgan Library & Museum, 'Drawings from the Collection of Lore and Rudolf Heinemann', 1973, no.32, illustrated. Note:  By contrast with his extensive output of capricci, Panini’s detailed topographical ‘vedute’ of Rome like this view are rare. In this drawing, several important symbols of modern Rome can be identified around Piazza Colonna: the Palazzo Chigi and the Curia Innocenziana to the right, the Residenza di Monsignor Vicegerente at the centre, and the Chiesa dei Santi Bartolomeo e Alessandro dei Bergamaschi to the left. The same view appears in Panini’s painting ‘Modern Rome’, pendant to Ancient Rome, both in the Louvre [no.R.F. 1944-22; F. Arisi, ‘Gian Paolo Panini, e i fasti della Roma del’700’, Rome, 1986, no.500, ill.]. Other versions of these well-known views can be found in the Metropolitan Museum of Art, New York [nos 52.63.1 and 52.63.2], the latter showing the Piazza Colonna from a different viewpoint, and in the Museum of Fine Arts, Boston [no.1975.805], also showing the Piazza Colonna from a different angle. 

A large quantity of reference books on artistsComprising approximately seventy books, mainly on Impressionist and Post-Impressionist artists, including: Pablo Picasso: A Retrospective published by The Museum of Modern Art, New York, 1972; Stanislas Lépine (1835-1892). Catalogue raisonné de l'oeuvre peint by Robert Manuel Schmit, 1993; The Rijksmuseum: Vincent van Gogh,, edited by E. van Uitert and M. Hoyle; a catalogue raisonné of 820 works of Johan Barthold Jongkind by Victorine Hefting; as well as books on Renoir, Bernard, Degas, Gaugin, Manet, Sisley, Monet and van Gogh, books on artists represented in the collection including Jongkind, Van Dongen, Van Rysselberghe and Boudin, as well as twenty-two copies of the Société des amis de Jongkind (Association of the Friends of Jongkind), the books published in Dutch and English, qtyThis lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

DC Comics - Zatanna #1-15 (2010) Modern age comics, includes Adam Hughes art work (15)

Maurice Adams (1887-1941) an Art Deco period walnut kneehole desk, circa 1930, with bowed ends, fitted a surround of nine drawers and two brushing slides, on bun feet122cm wide, 68cm deep, 76.5cm highMaurice Adams made all of his furniture by hand in Gloucester and saw himself as the inheritor of the traditions of the great furniture of the eighteenth Century. He had showrooms on Portman Square in London and wrote extensively about interior design including 'Modern Decorative Art' in 1930. His work is represented in the Victoria and Albert Museum.

JAZZ & BLUES - LP COLLECTION. A smashing collection of 17 jazz & blues LPs, includes a smattering of 10". Artist/ titles include Sonny Terry inc Whoopin The Blues (MLP 516, 10". Record Ex/ sleeve VG), With Brownie McGhee at Sugar Mill (Fantasy 3340. Red vinyl. VG/ VG). Leadbelly - The Library Of Congress Recordings (EKL-301/2, LP box set), Art Tatum Trio (10"), Earl Hines - Grand Terrace Swing (10"), Blind Blake - Blues In Chicago, The Blue Sky Boys inc Presenting The Blue Sky Boys (M/ Sealed) & The Sunny Side Of Life. Earl Bostic - The Best Of, Willie Guy Rainey (SLP-7), Roy Buchanan - S/T. Norman Gunston, Dexter Gordon, Billie Holiday, Stanley Turrentine, Ray Charles inc Sweet And Sour Tears & Modern Sounds In Country And Western Music. Condition is generally VG to Ex.

A small quantity of assorted jewellery, including white metal bangle, a silver gilt 'Dearest' bangle, silver thimble with mouse surmount, silver ring, an Art Nouveau style Queensway sterling and mother of pearl set drop pendant necklace, amethyst paste set gilt cross pendant, earrings including 9ct, silver gilt ear clips, 9ct gold heart charm with ring inside, two modern silver brooches and a 925 heart shaped pendant on chain, etc.

A BOX AND LOOSE CERAMICS AND SUNDRY ITEMS, to include a Wade Heath Art Deco style jug, Royal Doulton character jugs: Athos D6452, Toby Philpots D5737, Old Charley D6046 and Gunsmith D6580, an S Hancock Royal Corona Ware 'Rosetta' wash bowl, a Mason's Fruit Basket triangular bowl, a Crown Devon red lustre leaf shaped dish, a lustre pedestal vase by H Bequet, Quaregnon, Belgium, a modern Oriental style covered vase, a glass inkwell with brass mounts, a Royal Doulton resin sculpture of a pig, etc (1 box + loose) (sd)

c1940 The Eight Immortals Booklet- published in the 1940s by Missionaries interned in China with noted of their war experiences, illustrated with original silk Chinese characters, photographs, paper art, fabric bound booklet with 2 commemorative Captives of Japan modern badges

A limited edition by PIET MONDRIAN (1872-1944) titled "Composition in red, yellow, blue and black, 1921" This actual print was printed in London and is one from the published edition which was strictly limited to 85 copies Worldwide (numbered in the publishers frank). It will be supplied with a replacement valuation for £1800 (free of charge). It will be accompanied with a certificate of authenticity which verifies this is number of the edition. It has also been signed by the Master Printer. It has been printed to the highest standard with lightfast inks onto acid-free calcium carbonate-buffered stock, mould-made from 100% cotton. It has been professionally mounted and framed. Mondrian was born in Holland in 1872 and was determined to become a painter from a young age. He qualified with a teaching degree in 1892, but enrolled for painting lessons, before moving to Amsterdam and registering at the Rijksacademie. Mondrian became a member of the art society Kunstliefde "Art Lovers" in Utrecht, where his first paintings were exhibited in 1893. He experimented with many different styles including naturalistic, impressionist and painting many landscapes of his native country. In 1911 he moved to Paris and the influence of Cubism, as evidenced by Picasso and Braque, started to appear almost immediately in his work. He spent the duration of the First World War back in Holland and continued his journey towards abstraction. After the War had finished Mondrian returned to France. He then moved to London in 1938 but relocated to New York just two years later in 1940, where he remained until his death. Mondrian is well known for his contribution to the development of modern abstract art. He strove to portray an extreme formal purity through his combination of simplistic straight lines and bold primary colours. The Image: Mondrian spent the period 1914-1918 (World War I) back at his home in Holland and during this time, he decided to work on an abstract art form which was later classified as Neoplastic style. This work was depicted by lighter colours, simplified colour selection and forms that were balanced in their composition. This work is a result of Mondrian joining the abstraction-creation line which was open to new styles, new techniques and at this time Mondrian began to be fascinated with the idea of the line and dismantling the very definition of painting. He argued that drawing and draughtsmanship which were exemplified in the line, had always lain at the heart of painting from the Renaissance artists to the Impressionists to the Modernists and no one had ever thought to challenge that.. H: 96cm W: 93cm D: 4cm

A framed limited edition titled "Street Scene, Pendlebury" by L.S. LOWRY with signed certificate of authenticity (signed by the Master Printer). One from only 95 published worldwide and has been professionally framed in a bespoke frame and mount. It will be supplied with a replacement valuation for £1700 (free of charge). Mint condition. Like the Post-Impressionists, Lowry was interested in recording the nuances of everyday life, basing his work on observations of the world around him. Inspired by the industrial scenes in his hometown, Lowry would stop and sketch during the day then develop a painting such as Street Scene at home. His direct and distinctive style led art critic Jonathan Jones to call Lowry a "modern primitive" to be ranked alongside such artists as Henri Rousseau. A fan of its stiff consistency, Lowry painted with oil paints all of his life, using the paint straight from the tube. Just as Lowry was fascinated by capturing the quotidian, he was also quite elemental in his choice of materials. "I am a simple man", Lowry once said. "I use simple materials: Ivory Black, Vermilion, Prussian Blue, Yellow Ochre, Flake White and no medium." Touches of this choice palette are visible in Street Scene, bringing the scene's realism to life to vivid, yet modest effect.. H: 94cm W: 107cm D: 4cm

‡ KEVIN SINNOTT oil on canvas - entitled verso on 1995 Martin Tinney Gallery exhibition label, 'Running Away with the Hairdresser', 83 x 113cmsProvenance: private collection South of England, vendor purchased from Martin Tinney 1995Comments: framed, immaculate condition and ready to hang.Auctioneer’s Note: the painting is one of only two versions of 'Running Away with the Hairdresser' produced by the artist. This version painted in early 1994 after the artist returned to Wales from London (in August 1993) and shortly before the larger version was painted and then acquired by the National Museum of Wales. The Station Hotel in the background is Caerau, near Maesteg.'Running Away with the Hairdresser' is one of the most famous and best loved modern-Welsh art images. The artist said that the painting evolved from an earlier work called 'Running Away' showing a single man running from a smoke-filled sky and terraced houses, while painting 'Running Away' Sinnott recalled that his '..body tingled with the kind of excitement that comes when you sense a good idea is around the corner'. 'Running Away with the Hairdresser was the outcome of this excitement.It has been said that the version at the National Museum of Wales is the most visited painting in the Museum’s impressive art collection which boasts works by Renoir, Monet and Pissarro. ‘Running Away with the Hairdresser’ is concerned with an age of aspiration where many young Welsh people have fled their roots, in this case the terraces of the South Wales valleys. It is simply a Welsh painting for the ages.Buyer's Premium: please note that bidders will benefit from stepped Buyer's Premium rates reducing at £25,000 / £30,000 and £35,000. Please see below.24.5% + VAT (29.4%) on all lots up to £24,999£25,000 and over = 20% + VAT (24%)£30,000 and over = 15% (18%)£35,000 and over = 10% (12%

Two retro mid-century modern art prints - one 'Rich Harbour' by Paul Klee, 13 x 29in. (33 x 73.7cm.); the other 'Le Vieux Roi' by Georges Rouault, 22 x 15½in. (56 x 39.3cm.), both in white painted frames.

An Art Nouveau gilt-metal ring or jewellery box - early 20th century, in the Rococo style with peach fabric lining (LH 9.5 x 6.3 cm.); together with a modern novelty spherical pocket watch in hardwood case (winds and runs); and an Indian-style ebonised resin figure of an elephant and calves. (3)

Modern sterling silver Art Deco style earrings set with gemstone style inserts (2), 5.5cm long.

(Feltham, J.). The Picture of London, for 1810; being a correct guide to all the curiosities, amusements, exhibitions, public establishments, and remarkable objects in and near London. 11. Auflage. London, Phillips, 1810. XII, 456, 35 S. Mit 1 gefalt. Stahlstichfrontisp., 4 gestoch. Faltplänen u. 1 gefalt. Kupferkarte sowie 1 gefalt. Tabelle. 12°. Ldr. d. Zt. mit goldgepräg. Deckeltitel (leicht fleckig u. bestoßen, Rücken aufgehellt). Umfangreicher Reiseführer mit Kapiteln zu Geschichte, Statistik, Militär, Kunst und Künstlern, Literatur und Buchhandel, Kultur und Unterhaltung, öffentlichen Gebäuden aller Art, geografischen Gegebenheiten u.a.- Mit einer dekorativen Stadtansicht, einer Umgebungskarte von Hartford bis Surrey/Kent sowie von Windsor bis Woolwich reichend, außerdem mit einem Stadtplan 'London, with its modern improvements' (Format ca. 23 x 58 cm) sowie Plänen der East & West India Docks, von Westminster, der 'curiosities of London' sowie einer Ansicht 'Covent Garden Theatre, Built 1809' (Frontispiz).- Tafeln teils etwas gebräunt bzw. braunfleckig.

Bernd Hakenjos und Ekkart Klinge- "Europäische Keramik des Jugendstils, Art Nouveau, Modern Style" - Hetjens-Museum, Düsseldorf. 1974. - Prov.: Privatsammlung.

DONG SHOUPING (Chinese b. 1904-1997) Landscape Inscribed and signed, with two seals of the artist Dated Spring, yichou year (1985) Scroll and mounted, ink on paper 95cm x 43 cm (37.5" x 17") 董寿平  一九八八年作 题：乙丑 (1985）董寿平写于北京 鈐印：壽平、壽平書畫， Dong Shouping (董寿平; 1904-1997) was a renowned contemporary painter and calligrapher. Formerly known as Dong Gyu, later renamed Shou ping. Born in Shangxi province Hongdong County Du Shu village, Dong Shouping was born to a reputable family, Emperor Dong Jitang of Qing Dynasty famous calligrapher, his grandfather Dong Zhihuan Qing Hanlin. He was influenced by his family in calligraphy and painting, and especially admired at the beginning of the Qing Dynasty the works of painter Yun Shouping, then renamed Shou ping. At the age of 16, Dong Shouping attended the Beijing world language school after the turn of the Department of economics of Nankai University, tianjin. In 1926 he graduated from Burapha University in Beijing and settled in Beijing in 1928. In 1931 he began selling paintings for a living, 1938 articles to Xi'an, back to Chengdu, Sichuan writers have Lin Shan Yu appreciation, to praise to make the name well known in Chengdu, held the first day, in 1939 moved to Sichuan Province Guanxian Dujiangyan Guan Yu Lei, living there for 12 years. In 1941 he donated to support the Anti Japanese war. After the liberation, Dong Shouping returned to Beijing in 1950, Ren Rong Bao Zhai editing, 1952 will hide all the books donated by Shanxi provincial museum. To travel around the China sketch, creating more than. In 1979, Rong Bao Zhai consultants identity to Japan, and lectured at University of the Arts in Tokyo, painting demonstration. He is currently a member of the CPPCC National Committee, director of the China Calligrapher's Association, honorary president of Beijing research China painting. In 1979 the people's Fine Arts Publishing House of the "Dong Shouping" painting series. Dong Shouping started at a young age for art, will develop a reading habit of drawing, half day, he be learned in books, there is a profound knowledge, good at the broad and profound ancient Chinese art and modern techniques of combining. His picture has not only poetry and painting artistic conception, which has the literati scroll temperament, layout composition rich philosophy. He also acquired a hand hanging Book stunts, commended for the artists at home and abroad.

Fu Baoshi 傅抱石 (b.1904-1965) Scholar and maiden 高仕侍女图 Ink on xuan paper Mounted on scroll Measures approx. 190 x 58cm 设色纸本 立轴 款识： 新渝傅抱石写于西郊 鈐印： 傅 . Fu Baoshi is best known for his landscapes, which integrate a variety of influences and historical styles. His career embodies the trajectory of 20th century China; he witnessed the end of China’s last imperial dynasty, the rebellions of the 1920s, Japanese occupation of eastern China and the Communist Revolution, which informed the complex foundation of his painting. He drastically impacted ink painting in China, incorporating foreign styles and, most notably, nuanced techniques and subject matter to achieve a uniquely modern Chinese style. Born in 1904 in Xinyu, China, Fu was educated in Japan, studying the History of Oriental Art at the Tokyo School of Fine Arts. He held a particular admiration for Qing Dynasty painter Shitao, and even chose and changed his own name to Baoshi, which translates to “embracing Shitao.” He translated Japanese texts and consistently wrote his own art historical theses and treatises, completing research into fourth century landscape painting and artists of the Tang, Yuan, Ming and Qing Dynasties. He developed his landscape painting as a young artist, but was also acclaimed for his figural paintings, depicting figures from the third and fourth centuries. After the establishment of the People’s Republic of China in 1949, Mao Zedong called for a modernization of the arts; Fu led the charge in painting and is credited as a major artistic reformer of the 20th century. He revived early traditions based on a broad range of color and turned to modern technological subject matter such as airports and telephone lines. Leading the New Chinese Painting Movement, he called for a spontaneous handling of paint, often spattering or throwing ink or paint in a state of emotional and physical engagement; at times he would even paint after significant drinking to achieve a fully engrossed work. Fu founded the New Nanjing School of Fine Arts, which engaged many major artists of the period such as Chen Zhifo, Qian Songyan, Song Wenzhi and Ya Ming.

Glass collection: three dishes incl. one opaline & x 3 swedish pieces & 1 modern art glass pieces. Tallest approx 17cm tall.

Two heavy brass candle holders, adorned with a Hebrew inscription on the base and green enamel decoration, originating from Pal-Bell. This company was known for crafting vintage Art Deco and Mid-Century Modern metal pieces in Tel Aviv, Israel, during the late 1930s to the mid-1950s, founded by Maurice Ascalon in 1939. Backstamp on base. Issued: 20th CenturyDimensions: 3.75"L c 3.75"W x 7.25"HManufacturer: Pal-BellCountry of Origin: IsraelCondition: Age related wear.

Modern three piece silver mounted dressing table set, comprising hair brush, hand mirror and clothes brush, in Art Deco style each with engine turned and geometric decoration, hallmarked Broadway & Co, Birmingham 1970, together with silver mounted glassware, including vase, scent bottle and two dressing table jars, a pierced silver dish and a mother of pearl handled silver fork, all hallmarked Condition Report: Weighable silver approx 1.3 ozt (67.2 grams)General wear commensurate with age and use, in the form of surface scratches, nicks and small knocks. Some items with larger knocks and some damage. Mother of pearl handle on fork broken. Hallmarks with varying degrees of wear.

David Hockney (b.1937) after.For LouisianaGiclée in colours, 2021, from the edition of 500, published by the Louisiana Museum of Modern Art, Humlebaek, on heavy wove paper, with full margins, sheet 592 x 840mm (23 1/4 x 33 1/8in)

Roy Lichtenstein (1903-1997) after.Drowning GirlScreenprint in colours, 1989, published by The Museum of Modern Art, New York, on wove paper, with full margins, sheet 1423 x 1195mm (56 x 47in)

Richard Avedon (1923-2004), a 1978 exhibition poster at The Metropolitan Museum of Modern Art, featuring "Dovima with Elephants" evening dress by Dior, 54.5 x 70cmSome surface marks and creases, stored rolled.

Julião Sarmento (1948-2021)"Febre (16)"Etching on paperSigned, dated 94/95 and numbered 76/9869,5x49,2 cm (mancha/image)80x60,5 cm (papel/sheet)Model for this engraving in the collection of the Modern Art Center, Calouste Gulbenkian Foundation.

Helena Almeida (1934-2018)UntitledSilkscreen on Fabriano paperSigned, dated 91 and numbered 23/4067,5x67,5 cm (mancha/image) 70x70 cm (papel/sheet)Work from the same edition in the collection of the Modern Art Centre, Calouste Gulbenkian Foundation.

Lourdes Castro (1930-2022)"Sombra projectada de Solange Dias", 1973Silkscreen on paperSigned and numbered 60/10048,8x49,6 cmImage from the exhibition poster held at Galerie Librairie du Fleuve, Bordéus, 1973; Silkscreen from the same edition in the collection of the Modern Art Centre, Calouste Gulbenkian Foundation.Work from the same edition exhibited at:"1/150 Gravar e Multiplicar - Gravuras da Colecção do Centro de Arte Moderna da Fundação Calouste Gulbenkian", Casa da Cerca - Centro de Arte Contemporânea, Almada, 2009; Blink - Gravuras da Colecção do CAM, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisboa, 2009.

Jorge Molder (n. 1947)UntitledFrom the "O pequeno mundo" series, 2000Gelatin silver printEd. 1/335x35 cm (mancha/image)With label from Galeria Pedro Oliveira.Photograph from the same edition in the collection of the Modern Art Center, Calouste Gulbenkian Foundation.

Poster titled Cut and Run The Rat. Sight size 16.5" x 23.4". From the Gallery of Modern Art, GlasgowCondition: Good.

New York: The Museum of Modern Art, 1980. Large paperback book featuring a self-portrait of Picasso. 463-pages of various notable and obscure works by the fame Spanish artist. ISBN: 870705199 Artist: William RubinIssued: 1980Dimensions: 9.25"W x 11"H x 1.25"DManufacturer: The Museum of Modern ArtCountry of Origin: United StatesCondition: Good.

Poster titled Cut and Run Graffiti. Sight size 16.5" x 23.4". From the Gallery of Modern Art, GlasgowCondition: Good.