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Large ceramic figure of a seated Greyhound (50cm high), together with a Beswick matt brown horse mid-stance and a Royal Doulton 'Spirit of Nature' horse figure on wooden base

Orrefors rectangular clear glass decanter, H.24cm overall; Thomas Webb cut square spirit decanter, silver mounted decanter; ship's decanter, and 2 small decanters, all with stoppers. (6)

A Mexican Silver Triangular Dish and Mixed Silverware, the Mexican dish stamped 925 of plain form 7.25ins  x 7.25ins, a Mexican silver and abalone cream jug with kingfisher pattern handle to the lobed body 4.5ins high, six German silver and silver gilt spirit tots engraved with crest 800 standard, each 1.75ins high, and a small selection of other continental silver and silvery metalware, combined weighable silver 25ozs

A George V Small Silver Hip Flask and Mixed Items, the hip flask by Laurence Emanuel, Birmingham 1915, of plain form with screw top  3.75ins high, weight 2.3ozs, two silver vesta cases, a cut glass and plated mounted spirit flask with removable cup 5.75ins and a gilt metal and shagreen effect rectangular cigarette case 4.5ins x 3.5ins 

Mixed lot to include a brass shot container, small brass spirit level, brass Number Two stamp, Epns condiments, pewter measure, etc (a lot)

1979 Ford Mercury Cougar XR7 Transmission: automaticMileage:68517The Mercury Cougar XR7 was an iconic American muscle car, produced by Ford's Mercury division from 1967 to 1997, it's best known for its stylish design and powerful performance. The XR7 variant, introduced in 1967, represented the more upscale and luxurious version of the Cougar line-up. The XR7 was instantly recognizable by its distinctive hidden headlamps, a hallmark of its design. Under the bonnet, it offered a range of potent V8 engines, delivering impressive horsepower and torque. With features like leather upholstery and air conditioning as an option, the XR7 provided a comfortable and premium driving experience. Throughout its production run, the Mercury Cougar XR7 went through various design changes and updates, adapting to the evolving automotive landscape. It remains a beloved classic today, celebrated for its combination of style, power, and luxury, encapsulating the spirit of American muscle cars from the late 20th century.This Mercury was dispatched from the factory on 1st June 1979 and was owned by just two keepers in the US prior to its importation to the UK in 2019. The vendor who has owned the car since 2019 is a knowledgeable car enthusiast and has kept this Cougar as original as possible, choosing only to fit a stainless steel exhaust system, deemed to be a wise investment. Other items that have been changed recently is the fitment of a new fuel pump, fuel lines, spark plugs, HT leads, starter solenoid and a headlamp switch. Presenting very well with good grey coachwork and grey interior. We are advised the 5.0 litre V8 engine runs well and the car drives with no known faults. Supplied with a V5C registration document, together with a history folder, we are advised this Mercury Cougar XR7 will be presented for an MoT test prior to auction.

1931 Rolls-Royce 20 / 25 Sedanca De Ville by Windovers Transmission: manualMileage:57000First registered on 7th May 1931 and finished in pastel blue and black with black leather interior, GNS75 was initially ordered by J.J. Jones of 88 St. James's Street, London however the first owner was actually Hylton Ralph Murray-Philipson (Jnr) of Stobo Castle, Peebles. Stobo Castle had been purchased by Hylton Murray-Philipson Snr in 1905 and in 1924 he conveyed the estate to his son who was a pioneer aviator. Hylton's career consisted of being the C.O. of the City of Edinburgh Auxiliary Air Force Squadron, Conservative MP for Twickenham; Chairman of N.E. Marine Engineering Company and a member of the King's Bodyguard for Scotland and the Royal Company of Archers. Hylton Murray-Philipson suffered from ill health and died in 1934 aged 32 leaving GNS75 to his wife Monica and two young children. In 1939 Monica Murray-Philipson sold Stobo Castle to Wenefryde Agatha Scott, 10th Countess of Dysart and after 10 years of being a widow Monica married Colonel P.H. Lloyd of Stone House in Blaston. The Colonel and Murray-Philipson had business connections as they were both company directors of Manvers Main Collieries Ltd Murray-Philipson in 1923/33 and Lloyd in 1940/47. In 1943 GNS75 is shown as being with her second family, that of John Stanley Coombe Beard of Grayshott Hall, Surrey. John Beard was an architect well known for designing over 100 cinemas in many styles, Baroque, Art Deco, Italian Renaissance, Greek Revival and even Egyptian. Interestingly in 1937 Mrs Beard made call to the police about an attempted burglary which resulted in the first arrest directly attributable to the new 999 service.A rare, possibly unique and very attractively designed car incorporating many appealing features such as stylish wings, separate steps in place of running boards, slim bumpers, external visor and louvred bonnet and scuttle with beautifully proportioned coachwork. With a polished aluminium bonnet top and waistline and P80 'bullseye' headlamps with pillar spot lamp all adds to the overall gorgeous design with the incorporation of various Art Deco touches.This 20/25 allows you to instruct your chauffeur from the privacy of the rear passenger compartment with the interior dividing screen while keeping an eye on progress with your own speedometer which is naturally mounted atop the built-in drink's cabinet. Such unusual original features are what make this Rolls-Royce special, even the delightful Sedanca de Ville coachwork is rare with its split separate steps and Art Deco flourishes. The front compartment provides accommodation for the driver and a passenger with a removable roof section for open-air motoring and wind-up windows. The driver's window also featuring a quick release lower section to allow hand signals to be easily executed. A right hand gear change allows for plenty of legroom and the large steering wheel is surmounted by a collection of hand controls. A large bulb horn lies easily to hand and the windscreen can be opened for ventilation. It is shaded by a glass visor and a spot lamp is within the driver's reach. Gauges are also a feature of the rear passenger compartment, although separated by a dividing screen, the rear passengers can keep an eye on their own speedometer as well as being supplied with a clock, barometer and a circular thermometer. The clock, and possibly the barometer, appear to be later additions. The drinks cabinet has provision for holding several decanters and a few glasses in a Lazy Susan, although the glassware itself is no longer present. The leather upholstery looks to be in lovely condition throughout, exhibiting just the right amount of patina without looking tatty. The carpets, door cards and headlining are similarly well presented as are stylish Art Deco door handles and window winders, which place this Rolls-Royce squarely in the 1930s.To the exterior, the Palladian radiator surround is topped with the Spirit of Ecstasy and the long bonnet is flanked by twin side-mount spare wheels. A pair of large Lucas tripod headlamps illuminate the road ahead and are assisted by a centrally mounted spot lamp, as well as the swivelling spot lamp near the driver. Twin horns complete the scene at the front of the car, along with a polished chrome-plated bumper. The Windovers Sedanca de Ville coachwork suits the car well and is beautifully proportioned. It features the unusual running boards, separate for front and rear passengers, as well as a useful luggage boot to the rear. Polished aluminium discs cover the wire wheels and the car runs on a full set of Paymaster tyres. Lifting the long bonnet reveals the powerful, straight-six, 3.7 litre engine. The engine features coil ignition and is fed by an Autovac fuel pump and, unusually for a car of this period, there is a glass bottle of screen wash mounted on the bulkhead, which is likely to be a later addition coupled to a small modern electric pump which has been added for ease of use. Supplied with a history file which includes historic photographs of restoration, instruction book and the original buff logbook coupled to the V5C registration document and copies of handwritten service records. The vendor informs us that the engine starts up easily every time and runs well. It is said to be a joy to drive and mechanically sound with its overhead valves, four-speed gearbox and powerful engine, this Rolls-Royce is certainly very capable and splendidly opulent. An imposing motorcar, which wears fabulously unusual coachwork and retains many original details.

1968 Ford Mustang Transmission: automaticMileage:79443The 1968 Ford Mustang 302 V8 Automatic 5.0 is an iconic American muscle car, cherished for its timeless design and powerful performance. Equipped with a 302 cubic-inch V8 engine, this Mustang delivers a remarkable 5.0 litres of displacement, offering impressive acceleration and a distinctive exhaust note that's music to enthusiasts' ears. The automatic transmission ensures a smooth and effortless drive, while the car's classic lines, dual exhausts, and aggressive grille make it a head-turner. The '68 Mustang 302 V8 5.0 embodies the spirit of the era and remains a symbol of automotive excellence, a timeless classic that continues to captivate car aficionados to this day.This J Code Ford Mustang 302 V8 automatic is finished in Highland Green as tribute to the Iconic Bullitt car and comes from a private collection. This Mustang is sensibly modified to include power steering, upgraded power disc brakes and suspension to suit as a daily driver along with a recent comprehensive overhaul. Also featured in the list of upgrades are the 17" Torque Thrust wheels with new tyres giving that legendary Mustang stance. The look is complemented by the unmistakable burble of the V8 exhaust. This car was built in Metuchen in January 1968 and was destined for Philadelphia to its first owner, it is accompanied by previous US titles of ownership, a Marti report for provenance and two sets of original keys.

A large chrome effect Spirit of Ecstasy, on black marble socle

English painted porcelain necessaire with tools and gold setting. The case of whimsical forms is made in the spirit of Rococo and is decorated with allegorical scenes of love themes. England, circa 1770 Height: 11 cm. Weight: 87.2 gr. Width: 4.5cm, Height: 11cm, Depth: 2cm, Weight: 0.090kg, Condition: Good, Material: Mirror

Cylindrical porcelain teapot from the Gardner factory. Russia 1820-30s. Made in the classical spirit and proportions. With scenes of Italian life on the body. The lid and beveled edge of the cylinder are decorated with plant shoots. Porcelain, gilding, painting. Height: 17 cm. Width: 19cm, Height: 17cm, Depth: 12cm, Weight: 0.684kg, Condition: Good, Material: Porcelain, Hand Painted, Gilding

Porcelain plaque Portrait of an equestrian monarch. Goes back to the iconography of the portrait of Peter the Great, painted by Johann Gottfried Tannauer, with a sword, a cocked hat and a blue cavalry uniform, with a gold ribbon and an order. The heraldic symbol on a horses harness is of European origin. Fine hand painting on porcelain in the spirit of Rococo romance. Signed Peter 1. Grobe and number 107 on the back of the plate. Plate dimensions: 13x9 cm. Width: 21cm, Height: 25cm, Depth: 4cm, Weight: 0.820kg, Condition: Good, Material: Porcelain, Hand Painted

Samurai armor, Edo period. Consisting of: cuirass - do, plate skirt - kusazuri, legguards - haidate plate skirt, sections of which could be tied around the hips forming a semblance of pant legs, knee pads - tate-oge, leggings - suneate, shoulder pads - sode, bracers - kote, mittens - tekko (half mittens ) - as a rule, was a plate (often in the form of a stylized palm), which is part of the kote and covers the back of the hand, helmet - kabuto, visor - mabizashi, rim - koshimaki, a wide plate running along the lower edge of the helmet, back plate barmitsa - shikoro, decoration - date, mask - mengu, chin guard (throat protection) - yadare-kake.The Edo period is a historical period (1603-1868) of Japan, during the reign of the Tokugawa clan. Began with the appointment of Tokugawa Ieyasu as shogun in 1603. Completed by the resignation of shogun Tokugawa Yoshinobu in 1868. It is characterized as the time of establishment of the Tokugawa dictatorship, at the same time as a transition from medieval civil strife among daimyos to a fully controlled country. During the Edo period, the formation of the Japanese spirit, the emergence of the national Japanese idea, the development of the economy and the bureaucracy took place. The Edo period is the golden age of literature and Japanese poetry, Matsuo Basho is the most prominent representative of the poetry of both the Edo period and Japanese poetry in general. As a result of the Sakoku policy of self-isolation, for almost the entire Edo period the country was behind the Iron Curtain, not conducting trade or communicating with other countries (rare exceptions are China and the Netherlands). Width: 60cm, Height: 177cm, Depth: 54cm, Weight: 30kg, Condition: Good, Material: Textile

Analog or Feast Day Icon of the Annunciation. Demonstrates one of the bright and joyful holidays of Christianity, in which Archangel Gabriel brings the good news to Mary about the immaculate conception. The vertical composition is classically divided into two parts according to the characters and is limited by the field of the conventional courtyard. On the left, as if emerging from the tower, a winged messenger is represented. With a staff in his hand and red boots, he will put two fingers on Marys right hand. She is depicted, on the right side, against the background of the conventional architecture of the temple, seated on a scarlet throne cushion. Maria seemed to have gone out into the monastery courtyard to get some air. Her gesture of fear and acceptance is eloquent. A ray of light with a dove - a symbol of the Holy Spirit - is laid from heaven to the chosen one. The scarlet fabric that unites both buildings traditionally symbolizes the tabernacle and the interior of the temple, where, according to legend, the scene took place. This holiday for humanity marks the triumph of the promised salvation, which is granted by the deity through the earthly mother. The laconic language of icon painting and the sacred grandeur of the architecture, the clarity of the composition, emphasizing the most important thing, preserve the stylistic features of the Moscow school of the 16th century. At the same time, restoration edits from different years are noticeable, affecting the gesso-chalk ground, angel wings, and architectural details. Soil loss at the bottom of the icon. Flat mortise keys. (the lower one has been preserved). Board dimensions: 38x29x2 cm. Width: 29cm, Height: 38cm, Depth: 2cm, Weight: 1kg, Condition: Good, Material: Wood, gesso, gilding, tempera

Floor lamp decorated with artistic elements made of gilded and crimson enameled metal. The massive base in the shape of a three-beam star is decorated in the center with a round convex rosette with a cut-out decor. The stojan has the shape of a column with four cylindrical inserts decorated with crimson enamel. It is crowned with a round enamelled ball imitating a container for the liquid used as fuel for the lamp. The lower part of the stand is supported by three flat metal supports made in the form of dragon heads and an openwork flower and leaf ornament. Lampshade original, woven, trapezoidal, handmade with a profiled surface and decorated with openwork braid. electrified. It is possible to adjust the height of the object. This floor lamp will bring the spirit of aristocracy and an atmosphere of comfort into the interior of your apartment. Size without lampshade: HxW = 165x42 cm Bronze, casting, patination, gilding, enamel. Western Europe, late 19th-early 20th century. Width: 65cm, Height: 170cm, Depth: 65cm, Weight: 15kg, Condition: Good, Material: Gold-plated metal

12 HOHNSTEINER HANDSPIELPUPPEN, Fa. Wolfgang Berger, 20. Jh. bestehend aus Kasper (Hose tlw. ausgebleicht), Prinzessin, Afrikaner, König, Großmutter, Schutzmann, Gretel, Waldgeist, Hexe, Teufel, Seppel (Naht seitlich offen) und ein Räuber mit Bart, Köpfe je aus Holz, handgeschnitzt mit den zugehörigen Holzständern, Orig.-Kleidung, unbespielt und in sehr gutem Erhaltungszustand, H je ca. 35 cm.| 12 HOHNSTEINER HAND TOY DOLLS, company Wolfgang Berger, 20th century. Consisting of Kasper (trousers partly faded), princess, African, king, grandmother, policeman, Gretel, forest spirit, witch, devil, Seppel (seam open on the side) and a robber with a beard, heads each made of wood, hand-carved with the corresponding wooden stands , original clothing, untouched and in very good condition, height approx. 35 cm each.

A boxed Royal Scot 'Kintyre' cut crystal 'Square Spirit' decanter (h- 28cm , w- 9.5cm), together with a matching boxed pair of 'Kintyre' cut tumblers (3)

William Comyns & Son, a silver cased hair curling spirit burner, London 1905,the inner mechanism marked EP of Paris, gilded interior, together with a pair of wooden handled steel tongs, 

Unusual iron hanging spirit lamp, an early 18th c. wrought iron and rush nip and a steel chopper

A good quality silver plated spirit kettle

Chopard. Anhänger 'Happy Spirit' an Kette. 18 kt. GG, gest., MZ: Chopard, num. 79/5014-20 2771933, bez. Happy Spirit, Kette gemarkt Chopard, 750. Glas graviert 'Chopard' mit drei beweglichen, sich verjüngenden Ringen und 1 Brill. in Zargenfassung ca. 0,08 ct. Feines Weiß(G)-Weiß(H).vvs. Drei-reihige, zierliche Ankerkette mit Karabinerschließe L. 60 cm, Anhänger mit Öse 50 x 42 mm, Gew. zus. ca. 45,8 g. Angaben laut Gemmologisches Institut Hamburg von Juli 2018 -

A 19th century Doulton and Watts Lambeth Pottery salt glazed stoneware reform flask - modelled as Lord Brougham holding a scroll, impressed 'The True Spirit of Reform', 19cm high, impressed mark to back, together with another modelled as Lord John Russell (2)

Colonial School. Quito. Ecuador. Attributable to Manuel de Chili "Caspicara" (Quito, 1723 - 1796).Saint Teresa of Avila, as Doctor of the ChurchCarved and polychromed wooden sculpture.Height: 77 cm.Magnificent sculpture with candelieri decoration (to be dressed). Wearing a richly adorned brown Carmelite habit and a toasted chickpea-coloured cloak with flourishes and embroidery. She wears an academic birreta. Missing from her right hand is the "plume of inspiration," and from her left, the "resting dove," as she used to call the Holy Spirit. Adorning her chest is a jewel embroidered in silver thread, with the Infant Jesus inside, symbolising her fervent love for Him, which she followed and pursued throughout her life. This represents the famous engraving by Antonius Wierix (Antwerp, c. 1555/1559 - 1604) that was in her cell, and which provided her with so much peace and love when she contemplated it.Undoubtedly, the sculpture is a marvellous example of Quito imagery. It bears important similarities to the "Dressed Image of the Virgin of Mercy" or "Pilgrim of Quito," circa 1700-1750, kept in the LACMA, Los Angeles County Museum of Art.It retains its original clothing of embroidered silk, silver thread, gemstones, and thread. Adorning her chest is a silk embroidered heart with the inflamed heart of the Infant Jesus, made of painted glass, inside it. Manuel Chili, known by his artistic name, "Caspicara", was one of the most important indigenous sculptors of the so-called Quito School of the 18th century.His teachers were Diego de Robles and Bernardo de Legarda, with whom he collaborated as a young man in their workshops.In fact, he is considered the successor in the art of imagery to Bernardo de Legarda, who created magnificent sculptures, especially in wood or marble.Caspicara began his work making images at a very early age, according to the historian Jaime Aguilar de Paredes, until he achieved a mastery that placed him at the level of European artists.Specializing in religious motifs made of wood and marble, his work was made for the most important altars in churches and convents in the region, although his sculptures also reached Europe to form part of the collections of the nobility and monarchy.The Quito school, led by Caspicara, reached its maximum splendour in the 17th and 18th centuries, being of great prestige among the colonies as well as in the Spanish Court in Madrid.  Its production was one of the activities that contributed the most income to the Royal Court of Quito.The phrase attributed to King Charles III, referring to the Quito School, is well known: "I am not worried that Italy has Michaelangelo, in my American colonies I have the master Caspicara".His best-known works are in Quito Cathedral and in San Francisco Church in Quito, as well as in the Hispanic Society of America.Likewise, as the Cervantes Institute website indicates: “Due to the beauty of the way in which they were prepared, the Christ of Bethlehem is outstanding; also, the recumbent Christ and the Virgin of Light that watch over the Museum of the Central Bank of Ecuador; the Assumption of the Virgin that adorns the Church of San Francisco; the Impression of the Wounds, located in La Cantuña; and in particular, the Holy Shroud that visitors to the cathedral of Quito can admire.” Reference bibliography:- Aguilar Paredes, Jaime. "Grandes Personalidades de la Partria Ecuatoriana". Ed. Fray Judoco Ricke, p. 104.

Attributed to Peter Lely (Soest, Germany 1618 - London 1680)"Portrait of the renowned English composer Henry Purcell (1659 - 1695)"Oil on canvas.42.5 x 31 cm.An important portrait executed during the musician's lifetime, which makes it a highly exceptional piece.The National Portrait Gallery in London has a portrait of Henry Purcell in its collection, attributed to John Closterman or his workshop, circa 1695. (https://www.npg.org.uk/collections/search/portrait/mw05172/Henry-Purcell?LinkID=mp03677&role=sit&rNo=2)In addition to the evident pictorial characteristics typical of the brilliant Lely, the historical context is also interesting to examine: John Blow (1649 - 1708), who was Henry Purcell's teacher, was painted by Peter Lely at the approximate age of 30. It seems logical that Blow turned to the Master Lely to request that he, the best portraitist in England at the time, paint his pupil Purcell, who appears to be about 20 years old in this portrait.Sir Peter Lely was a renowned painter and art collector during the Restoration era in England. He was known for his portraits of court ladies and admirals, specialising in portraying the ladies of high-society as languid and voluptuous women. He began his career as a painter of landscapes and historical compositions but soon realised that portraits were more lucrative and shifted his focus. His skill in this genre earned him recognition and he became the "best painter in England."As well as being a successful painter, he was also a passionate art collector. His collection included works by prominent Venetian painters such as Veronese, Bassano, and Tintoretto, as well as European artists like Van Dyck, Claude Lorrain, Rubens, and other Dutch and Flemish painters. Lely was inspired by the Dutch pictorial style and reflected the spirit and character of its subjects in his works. Throughout his career, Lely emphasized the artificial elegance of his subjects, having them adopt similar poses and eliminating any distinctions between them. His legacy as a painter and collector left a remarkable imprint on the art world.After his death, his collection was sold and it also included artworks by Van Dyck, Claude Lorrain, Rubens, and various Dutch and Flemish landscapists. Lely was the first English painter to have a large studio, and his portraits were imitated by other artists until the mid-18th century.Henry Purcell (Westminster, England, 1659 - 1695) was an important English Baroque composer. He incorporated French and Italian stylistic elements into his music, creating a distinctive English style of Baroque music.He is considered one of the most significant composers of all time. As we read on the LAPhil website by conductor Gustavo Dudamel: "Henry Purcell is, arguably, England’s most famous composer. The son of a court musician, organist of Westminster Abbey at a mere 20 years of age, and the recipient of royal appointments by three different kings, he is considered one of the most original and prodigious composers of his – or any – time.Although he incorporated French and Italian elements into his writing, his compositions would come to define the English Baroque style. Purcell’s relatively short life produced a broad repertoire, including sacred music, theatre music and opera, fantasies and sonatas for keyboard, and vocal and chamber music – much of which endures in popularity and recognition to this day."Provenance: Important Spanish private collection.The painting has always been attributed to the artist Peter Lely (1618 - 1680) through the various generations that inherited it.Reference bibliography: - LA Phil. (n.d.). "Henry Purcell". https://es.laphil.com/musicdb/artists/4339/henry-purcell

Francisco Martinez (Mexico, 1687 - 1758)"The Good Shepherd as the Mystical Lamb"Oil on canvas.133 x 157 cm.A beautiful and sensitive depiction of the Good Shepherd, who gazes upon his flock questioningly, full of tenderness and mercy, opening his chest as a clear symbol of altruism leading to the complete sacrifice of himself. "I shed my blood for you, and whoever drinks from it shall never die."Undoubtedly, the painting shows a more humanised and Christian vision typical of colonial painting when compared with the famous Ghent Altarpiece "The Adoration of the Mystic Lamb" by the Van Eyck brothers, in which the Lamb of God, on an altar, with blood flowing from its chest, fills a chalice symbolising Christ and His sacrifice on the Cross, his giving of himself in the Eucharist.Both in the Ghent painting and in this one, there is a dove representing the Holy Spirit and, around it, several angels in adoration.Above the Good Shepherd, the inscription reads: "EGO SVM PASTOR BONVS ..." (I am the Good Shepherd).The Mexican painter Francisco Martínez, active between 1717 and 1758, was a New Spanish artist who still lacks a comprehensive monograph. However, Professor Luisa Elena Alcalá, a specialist in Ibero-American art of the Viceroyalty period, raises various relevant questions about the artist in her study "La obra del pintor novohispano Francisco Martínez" (1999). In addition to being a painter, as was common in the era, Martínez was a "gilder, reredos assembler, and decorator for short-lived festivals, enjoying great prestige in several of these fields," Alcalá explains. "Among his most outstanding works are the gilding of the main altarpiece of the Mexico Cathedral (1743), the erection of the funerary tomb of Felipe V in Guatemala (1747), and the subsequent creation of ephemeral architecture for the swearing-in of Fernando VI in Mexico (1747)." Also noteworthy is the "Nun’s Badge with the Annunciation and Saints" (circa 1750), signed "Martínez Sancti Officii Notarius Fecit," which is in the collection of the Los Angeles County Museum of Art (LACMA) (Inv. M.2015.142.1).His professional prestige, as noted by Alcalá, "can also be inferred from the numerous occasions when he provided expert opinions on miraculous images, enquiries into manufacturing processes and fairly common supernatural transformations in the religious sphere of the Viceroyalty."The painter, who also had a relationship with José de Ibarra, an "inescapable reference for understanding the figure of Francisco Martínez," with whom he coincided "on several commissions and competitions," carried out numerous commissions for the Jesuits. In fact, Alcalá asserts that "the 18th century was the golden age of the Jesuits in New Spain, when the profits from estates and mills allowed for massive reconstruction of their colleges and churches, and Martínez knew how to meet the artistic needs of the Society." Lastly, it should be mentioned that he was appointed notary of the Holy Tribunal, a prestigious title that, as pointed out by Ilona Katzew in her description of the aforementioned nun's shield for LACMA, "indicates his high social position."Reference bibliography:- Alcalá, Luisa Elena. (1999). “La obra del pintor novohispano Francisco Martínez”. En Anales del Museo de América (7), 175-187. Ministerio de Educación Cultura y Deporte: Subdirección General de Documentación y Publicaciones. https://hdl.handle.net/10486/671800- Katzew, Ilona (2015). “Nun’s Badge with the Annunciation and Saints”. Conservationist's notes. LACMA. https://collections.lacma.org/node/2115912

Colonial School. Peru. 18th century.“Our Lady Immaculate and Pure, with some of the Litanies of Loreto"Oil on canvas.179,5 x 130,5 cm.It has not been possible to attribute this painting to a particular artist, but it is undoubtedly the work of a master.  One only has observe the beauty of the Virgin Mary's face and the portraits of the saints at her feet.This is a spectacular Cuzco canvas representing the Immaculate Virgin Mary ascending to the heavens on a half-moon and stamping on evil, amidst a choir of angels that display some of the names, invocations, or honorary titles given by the holy Fathers, extolling her dignity. With them, her person is honoured and her powerful intercession is invoked.Below, Saint Peter and Saint Anthony of Padua are in prayer.  These were possibly the saint names of the donors who commissioned the painting.Surrounding Mary are some of the litanies of the Blessed Virgin Mary.On the left, above: MYSTICAL ROSE: ("...like a plant of roses in Jericho," Ecclesiasticus 24:14. Mary is the rose of Jericho that had primacy over the others for its magnificence, its rare form, and its exquisite scent; and the rose bushes grew like trees.) MIRROR OF JUSTICE: ("She is a mirror of the eternal light, a spotless mirror of God's activity, an image of His goodness," Wisdom 7:26. Justice here is almost equivalent to the word holiness, of perfection, and supernatural goodness.)In the arms of an angel, a TREE, a CEDAR, "I have grown as a cedar in Lebanon" (Ecclesiasticus 24:17). The incorruptible cedar is a symbol of chastity. "A shoot will come up from the stump of Jesse; from his roots, a Branch will bear fruit" (Isaiah 11:1).GATE OF HEAVEN ("And he was afraid and said, 'How dreadful is this place! This is none other than the house of God, and this is the gate of heaven!'" Genesis 28:17. Because it was through her that Our Lord Jesus Christ passed from Heaven to earth).On the right, another tree, THE OLIVE: "...like a beautiful olive tree in the fields" (Ecclesiasticus 24:14).Below,TOWER OF DAVID ("Your neck is like the tower of David, built with elegance" Song of Songs 4:4. A strong and beautiful construction that rose above the peak of a mountain built by King David for the defence of the city of Jerusalem. The Blessed Virgin Mary who rises sublime above the summit of all beauty and perfection, for the defence of the holy Church of God, the mystical Jerusalem.) FOUNTAIN: ("Fountain of gardens, a well of living waters, and streams from Lebanon" Song of Songs 4:15).Upper right:LILIES OF THE FIELD ("Like a lily among thorns, so is my love among the daughters" Song of Songs 2:2).Below, the PALM TREE, or patient palm in pain ("I have grown tall like a palm tree") Ecclesiasticus 24:14. Mary evokes the palm branches of Jesus' triumph in Jerusalem (John 12:13), a foreshadowing of his triumph with all the elect ("There was a great multitude that no one could count, from every nation, tribe, people, and language, standing before the throne and before the Lamb" Revelation 7:9). The palm, a sign of a victory achieved through perseverance in the struggle and enduring pain with fortitude, steadfastly, like Mary at the foot of the Cross.HOUSE OF GOLD, (the most beautiful of all metals, the one with the most value, because its virtues and purity have a transcendental brilliance and a dazzling perfection, are like an admirable work made of the purest gold.)And the 4th tree, CYPRESS: "...like a cypress on the mountains of Hermon" (Ecclesiasticus 24:13).Below,THE WELL: "...a well of living waters" Song of Songs 4:15. and TEMPLE OF THE HOLY SPIRIT: "Do you not know that your bodies are temples of the Holy Spirit?" 1 Corinthians 6:19.

Miguel de Santiago (Quito, Ecuador, 1620 - 1706)"María Inmaculada Niña (asumpta al cielo)"Oil on canvas. 165 x 103 cm.Delicate canvas by the principal painter of the Quito colonial school. It portrays the Immaculate Virgin as a child ascending to heaven, surrounded by angels carrying symbolism from the Litany of Loreto, under the blessing of God the Father and the Spirit, hovering over the scene with joy, light, and both interior and exterior veneration.In this painting, as in many others, Miguel de Santiago maintains a central figure that stands out from the composition, almost with an architectural structure, landscapes, and atmospheric distances.Mary, "electa ut sol, clara ut luna" (chosen like the sun, clear as the moon), like "a lily of the field," "mirror of justice," "without blemish," "without wrinkle"... titles from the Song of Songs collected in the Litanies.Clearly, the painter was knowledgeable about the biblical quote from the Apocalypse (Rev. 12:1 and following), "a woman clothed with the sun, with the moon under her feet, and a crown of twelve stars on her head," as the protector of Christians and aiding in the triumph of Christ.Miguel de Santiago is considered to be one of the most important painters of the Quito colonial school.As stated by the Royal Academy of History: "Miguel de Santiago was born in Quito in the early decades of the 17th century, in the traditional neighbourhood of Santa Bárbara, and died in 1706. In 1633, he was adopted by Hernando de Santiago, alderman and faithful executor of the town of Villar de Don Pardo, from whom he took his surname.Santiago's work is distributed between various convents and churches in the city of Quito.For the Convent of San Agustín, he collaborated in the execution of the series of paintings on the life of the patron saint of the Order. Painted in 1656, the canvases were inspired by engravings made by the Flemish artist Schelte Adams Bolswert.Santiago is also the author of the series of paintings on the Christian Doctrine (1670) found in the Fray Pedro Gocial Museum, of the Franciscan Order of Quito.Santiago exported many of his works beyond the geographical limits of the Royal Audience of Quito.Amongst these, it is worth highlighting the uniqueness of different canvases that would have served mnemonic and didactic functions, such as the series of El Alabado or Ave María and the Articles of Faith, both commissioned in 1673, and the Works of Mercy, which are located in the Bogotá Cathedral, Colombia."

Nicholas Wyatt The Anchoress, 2023 Watercolour, ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Nicholas Wyatt Tippi At Cooling, 2023 Watercolour, Ink and Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Dr Nicholas Wyatt is a founding member of Cubitt, an artist-run gallery and studios in London which has gained an international recognition and receives public funding. Nicholas Wyatt's paintings explore how narratives of presence are communicated in painting with particular reference to the reception aesthetics of certain key examples of Baroque religious iconography. Nicholas has exhibited at Victoria Miro, London; Arnolfini, Bristol; Museum Kunstpalast, Dusseldorf; Academia Italiana, London, Galerie de Rijk, Netherlands, Basilica Santa Anastasia Al Palatino, Rome and and with Cubitt Artists at London Art Fair. He has shown work with Peter Doig, Petra van Harte, Tacita Dean, Mariele Neudecker, Neal Tait, Henriette van t'Hoog, Uwe Esser, Howard Rogers, Nelson Diplexcito and Jan Kolata. His work in public collections includes CCR Collection, Palazzo Calista, The Vatican and Stadt Sparkasse Bank, Dusseldorf and private collections in UK, Netherlands and Germany. He has curated international exhibitions - Crosscurrents, the Netherlands, 1993; Sconfinamenti, Italy 1995-97; After the Endgame - New Abstraction, Amsterdam 2008. In 1997 with Simon Morley, he founded The Friedrich Society (an artist debating society on the legacy of German Romanticism in contemporary practice) and co-curated the Wreck of Hope exhibition at The Nunnery Gallery, Bow Arts Trust, London. He has given conference papers in his area of research at The Barber Institute of Fine Arts, University of Birmingham, Liverpool Anglican Cathedral and Loughborough University. Education 2009-2015. PhD. Loughborough University. Thesis (practice-based): The Christian Image & Contemporary British Painting. (The communication of Meaning and Experience in Religious Paintings) 1981-1984 Central St Martins School of Art, London. BA Hons Fine Art (Painting) Select Exhibitions/Awards 2023 Cubitt Artists at London Art Fair 2022 Cubitt 30 Victoria Miro Gallery London 2022 Cubitt 30 Victoria Miro online in association with Vortic Art 2022 St. Ives Society of Artists Spring exhibition. 2021 Art on a Postcard Winter Auction 2021 The Art of Painting, Copeland Gallery, London 2017 Angels & The City, Cubitt Salon #10, Cubitt, London (Petra van Harte) 2017 Basilica Santa Anastasia al Palatino, Rome, 2014 Nicholas Wyatt. Loughborough University. (solo) 2013 Research as Practice. Beaconsfield Gallery, London. 2008 True Romance, Galerie Anton, The Hague. 2007 After the Endgame-New Abstraction. R.C. de Ruimte, Amsterdam 2005 Nicholas Wyatt Showcase nl. Amsterdam. (solo) 2003 Nicholas Wyatt. Galerie de Rijk, The Hague . 2003 Lonely this Christmas. James Windsor Art, London 2000 Nicholas Wyatt. Azul Galerie, The Hague. (solo), 2000 The Wreck of Hope. The Nunnery Gallery, London. 1999. Where do You Want to Go Today? Cubitt, London (Petra van Harte) 1997 Sconfinamenti. Accademia Italiana, London 1996 Grosse Kunst Austellung, Museum Kunstpalast, Dusseldorf 1996 Nicholas Wyatt. Ateliers Hoherweg, Dusseldorf (solo) 1996 The Question of Scale. Arnolfini, Bristol. 1993 Crosscurrents, Centrum Beeldende Kunst Rotterdam (TENT) 1991 Hearts Desire. Knapp Gallery, London (solo) Gallery Representation Cubitt, London Statement about AOAP Submitted Artwork The paintings I have submitted for Art on a Postcard Winter Auction 2023 - 'Tippi at Cooling' and 'The Anchoress' - are examples of my current painting practice, which relates two systems of thought routinely dissociated by modern secular concepts and values: religion and aesthetics. My paintings propose an intervention, not in what is generally regarded as a defunct system of vision - religious imagery - but an intervention in the discourses of a contemporary visual system: - the contemporary painted image - and conflates those historical idioms with contemporary secular visual systems such as fashion photography and cinema. 'Tippi at Cooling' is very much about a genius loci -'spirit of place' - in this case the low-lying marshlands of Cooling in Kent. Across this landscape the figure of the American actress, Tippi Hedren walks, carrying a bird cage. Above her a small group of birds is thrown into relief by the stormy sky. The scene depicted is based on a personal memory. 'The Anchoress' is a smaller version of a larger studio painting which presents a 1930's fashion model holding lilies against a dark and contemplative background. The image suggested to me a similar sense of genius loci - 'spirit of place' - in this case the devotional cell of a mediaeval anchorite (e.g., St. Julian) These paintings explore the contemporary communication of meaning and experience in religious paintings (the visionary, the religious ecstatic). You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Alison Lambert Eudes Monotype with pastel highlights on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   This lot has been curated by AOAP About Alison Lambert has established, over the past forty years, an international reputation as one of the foremost British artists working with the human figure. Her large charcoal drawings and monotypes are included in a number of public and private collections around the world, including the V&A, the British Museum, the Art Institute of Minneapolis, USA and the Art Gallery of Hamilton, Ontario, Canada. Her next major exhibition will be held at Derby Museum and Art Gallery in Spring 2025, where she will be exhibiting large scale drawings and monotypes in two galleries, with a possible UK tour. Education BA HONS Coventry University Select Exhibitions/Awards Jill George Gallery - Many Solo exhibitions. Pratt Contemporary Art- Many Contemporary Original Print Fairs. Nicholas Metivier Gallery, Toronto - A number of Solo exhibitions. British Touring Exhibition, The Human Image in 2002. Mixed exhibition at the V&A. Many Art Fairs with the Jill George Gallery in London, Canada, USA. Gallery Representation Jill George Gallery and Pratt Contemporary Art at present. Statement about AOAP Submitted Artwork These three monotypes have been printed by myself from a copper plate. The plate was rolled in black ink first. I then drew each of the heads by removing the ink with brushes, sticks and various screwed up papers and white spirit. Each print is a one- off and can never be repeated.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Alison Lambert Guarin Monotype with pastel highlights on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Alison Lambert has established, over the past forty years, an international reputation as one of the foremost British artists working with the human figure. Her large charcoal drawings and monotypes are included in a number of public and private collections around the world, including the V&A, the British Museum, the Art Institute of Minneapolis, USA and the Art Gallery of Hamilton, Ontario, Canada. Her next major exhibition will be held at Derby Museum and Art Gallery in Spring 2025, where she will be exhibiting large scale drawings and monotypes in two galleries, with a possible UK tour. Education BA HONS Coventry University Select Exhibitions/Awards Jill George Gallery - Many Solo exhibitions. Pratt Contemporary Art- Many Contemporary Original Print Fairs. Nicholas Metivier Gallery, Toronto - A number of Solo exhibitions. British Touring Exhibition, The Human Image in 2002. Mixed exhibition at the V&A. Many Art Fairs with the Jill George Gallery in London, Canada, USA. Gallery Representation Jill George Gallery and Pratt Contemporary Art at present. Statement about AOAP Submitted Artwork These three monotypes have been printed by myself from a copper plate. The plate was rolled in black ink first. I then drew each of the heads by removing the ink with brushes, sticks and various screwed up papers and white spirit. Each print is a one- off and can never be repeated.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Alison Lambert Cateline Monotype with pastel highlights on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Alison Lambert has established, over the past forty years, an international reputation as one of the foremost British artists working with the human figure. Her large charcoal drawings and monotypes are included in a number of public and private collections around the world, including the V&A, the British Museum, the Art Institute of Minneapolis, USA and the Art Gallery of Hamilton, Ontario, Canada. Her next major exhibition will be held at Derby Museum and Art Gallery in Spring 2025, where she will be exhibiting large scale drawings and monotypes in two galleries, with a possible UK tour. Education BA HONS Coventry University Select Exhibitions/Awards Jill George Gallery - Many Solo exhibitions. Pratt Contemporary Art- Many Contemporary Original Print Fairs. Nicholas Metivier Gallery, Toronto - A number of Solo exhibitions. British Touring Exhibition, The Human Image in 2002. Mixed exhibition at the V&A. Many Art Fairs with the Jill George Gallery in London, Canada, USA. Gallery Representation Jill George Gallery and Pratt Contemporary Art at present. Statement about AOAP Submitted Artwork These three monotypes have been printed by myself from a copper plate. The plate was rolled in black ink first. I then drew each of the heads by removing the ink with brushes, sticks and various screwed up papers and white spirit. Each print is a one- off and can never be repeated.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Kate Walters Ms. (1) Watercolour sticks, oil pastels and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kate lives and works in west Cornwall. She works every day in her studio, after walking beside the sea. Viewing Kate's totemic figures, so delicately rendered in Rorschach-esque watercolour, for the first time, is as though peering into the very cycles of life and death. These paintings show both an abstract interest and material contact between the primordial and the universal -- a suggested communion with that same spirit who first cast images on those low-lit caves in Lascaux. Indeed, like them, it is not so much figure Kate's works seek to represent: her preoccupation is rather with movement, with spirit and sensation, with being itself. Education Foundation Byam Shaw; Fine Art Brighton University; post graduate studies at Falmouth University. Also studied classical shamanism with Chris Luttichau at Northern Drum. Select Exhibitions/Awards RA summer show 2005; ACE awards 2004, 2007 and 2020; a-n awards to visit and write about Venice Biennale, and tour the Outer Hebrides researching and working; awards from Cultivator Cornwall and Creative Skills to research Shetland and Venice. Solo show Newlyn Art Gallery 2012, with support from Newlyn Art Gallery and the Juliet Gomperts Trust. Short-listed for the Trinity Buoy Wharf Drawing Prize in 2023 and Jerwood Drawing Prize in 2003 and 2008. Solo exhibition Tremenheere Gallery 2019. Solo exhibitions with Arusha Gallery in 2014, 2019, 2022 and forthcoming May 2024 (London). Gallery Representation Arusha Gallery, Edinburgh, New York and London. Statement about AOAP Submitted Artwork I made these drawings as part of a long sequence of drawings I'm making in found and vintage books. They explore imagery I receive in dreams and from spiritual traditions which fascinate and inspire me. Everything I do and make is through the lens of my deeply felt bodily sensations.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Kate Walters Ms. (2) Watercolour sticks, oil pastels and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kate lives and works in west Cornwall. She works every day in her studio, after walking beside the sea. Viewing Kate's totemic figures, so delicately rendered in Rorschach-esque watercolour, for the first time, is as though peering into the very cycles of life and death. These paintings show both an abstract interest and material contact between the primordial and the universal -- a suggested communion with that same spirit who first cast images on those low-lit caves in Lascaux. Indeed, like them, it is not so much figure Kate's works seek to represent: her preoccupation is rather with movement, with spirit and sensation, with being itself. Education Foundation Byam Shaw; Fine Art Brighton University; post graduate studies at Falmouth University. Also studied classical shamanism with Chris Luttichau at Northern Drum. Select Exhibitions/Awards RA summer show 2005; ACE awards 2004, 2007 and 2020; a-n awards to visit and write about Venice Biennale, and tour the Outer Hebrides researching and working; awards from Cultivator Cornwall and Creative Skills to research Shetland and Venice. Solo show Newlyn Art Gallery 2012, with support from Newlyn Art Gallery and the Juliet Gomperts Trust. Short-listed for the Trinity Buoy Wharf Drawing Prize in 2023 and Jerwood Drawing Prize in 2003 and 2008. Solo exhibition Tremenheere Gallery 2019. Solo exhibitions with Arusha Gallery in 2014, 2019, 2022 and forthcoming May 2024 (London). Gallery Representation Arusha Gallery, Edinburgh, New York and London. Statement about AOAP Submitted Artwork I made these drawings as part of a long sequence of drawings I'm making in found and vintage books. They explore imagery I receive in dreams and from spiritual traditions which fascinate and inspire me. Everything I do and make is through the lens of my deeply felt bodily sensations.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Kate Walters Ms. (3) Watercolour sticks, oil pastels and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kate lives and works in west Cornwall. She works every day in her studio, after walking beside the sea. Viewing Kate's totemic figures, so delicately rendered in Rorschach-esque watercolour, for the first time, is as though peering into the very cycles of life and death. These paintings show both an abstract interest and material contact between the primordial and the universal -- a suggested communion with that same spirit who first cast images on those low-lit caves in Lascaux. Indeed, like them, it is not so much figure Kate's works seek to represent: her preoccupation is rather with movement, with spirit and sensation, with being itself. Education Foundation Byam Shaw; Fine Art Brighton University; post graduate studies at Falmouth University. Also studied classical shamanism with Chris Luttichau at Northern Drum. Select Exhibitions/Awards RA summer show 2005; ACE awards 2004, 2007 and 2020; a-n awards to visit and write about Venice Biennale, and tour the Outer Hebrides researching and working; awards from Cultivator Cornwall and Creative Skills to research Shetland and Venice. Solo show Newlyn Art Gallery 2012, with support from Newlyn Art Gallery and the Juliet Gomperts Trust. Short-listed for the Trinity Buoy Wharf Drawing Prize in 2023 and Jerwood Drawing Prize in 2003 and 2008. Solo exhibition Tremenheere Gallery 2019. Solo exhibitions with Arusha Gallery in 2014, 2019, 2022 and forthcoming May 2024 (London). Gallery Representation Arusha Gallery, Edinburgh, New York and London. Statement about AOAP Submitted Artwork I made these drawings as part of a long sequence of drawings I'm making in found and vintage books. They explore imagery I receive in dreams and from spiritual traditions which fascinate and inspire me. Everything I do and make is through the lens of my deeply felt bodily sensations.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Kate Walters Ms. (4) Watercolour sticks, oil pastels and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Kate lives and works in west Cornwall. She works every day in her studio, after walking beside the sea. Viewing Kate's totemic figures, so delicately rendered in Rorschach-esque watercolour, for the first time, is as though peering into the very cycles of life and death. These paintings show both an abstract interest and material contact between the primordial and the universal -- a suggested communion with that same spirit who first cast images on those low-lit caves in Lascaux. Indeed, like them, it is not so much figure Kate's works seek to represent: her preoccupation is rather with movement, with spirit and sensation, with being itself. Education Foundation Byam Shaw; Fine Art Brighton University; post graduate studies at Falmouth University. Also studied classical shamanism with Chris Luttichau at Northern Drum. Select Exhibitions/Awards RA summer show 2005; ACE awards 2004, 2007 and 2020; a-n awards to visit and write about Venice Biennale, and tour the Outer Hebrides researching and working; awards from Cultivator Cornwall and Creative Skills to research Shetland and Venice. Solo show Newlyn Art Gallery 2012, with support from Newlyn Art Gallery and the Juliet Gomperts Trust. Short-listed for the Trinity Buoy Wharf Drawing Prize in 2023 and Jerwood Drawing Prize in 2003 and 2008. Solo exhibition Tremenheere Gallery 2019. Solo exhibitions with Arusha Gallery in 2014, 2019, 2022 and forthcoming May 2024 (London). Gallery Representation Arusha Gallery, Edinburgh, New York and London. Statement about AOAP Submitted Artwork I made these drawings as part of a long sequence of drawings I'm making in found and vintage books. They explore imagery I receive in dreams and from spiritual traditions which fascinate and inspire me. Everything I do and make is through the lens of my deeply felt bodily sensations.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Ellen Forbes Deaf Lettuce Rides Again, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Ellen Forbes Tatting with Katie, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Ellen Forbes Man Ignores Our Selfie At Glastonbury, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Ellen Forbes Thomas and Fi, 2023 Acrylic and colour pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Verity Babbs About Having trained as a scenic artist, Ellen began painting portraits and figurative works when entertainment industries halted during the pandemic lockdowns. Originally a response to the sudden inability to experience in person social connection, her works have developed a narrative quality as the subjects and settings naturally evolve alongside the relationships depicted. She layers bold acrylic colour to create vivid detail, leading to images resonant with film stills. Education BA Hons Theatre Practice, RCSSD Statement about AOAP Submitted Artwork These images are all moments from the recent festival season, where I joined teams of other creatives to build immersive, surreal environments for revellers to lose themselves in. I hope these paintings embody the playful spirit behind these events, while celebrating the individuals who help make them possible.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Sophie Vallance Cantor Tiger Collage, 2023 Oil and collage on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by Ell Pennick About Throughout her practice, Sophie Vallance Cantor creates worlds that express the inner workings of her mind by blurring the line between reality and imagination. Her paintings offer a unique perspective as they invite viewers to see the world through her eyes: where bright neon signs light up dark alleyways and domestic cats transform into wild beasts in 24 hour bars and cafés. Each painting reads like a still from a film; characters look at the viewer with a sense of cool detachment as they ride motorcycles down an infinite highway or smoke cigarettes and blow smoke while nursing a cocktail. Amidst the narrative of her paintings there often lies a sense of stillness, with each small moment immortalised and savoured through thick, luscious strokes of oil paint that exude a palpable sense of joy and pleasure in the creation process. Sophie's figures are depicted with strong, bold shapes and her use of vivid colours invites the viewer to relish in the pleasures of her practice. There is a certain sense of playfulness and mischievous delight that permeates all of Sophie's work. In a broader context, Sophie's art serves as a counterbalance to her experiences as a neurodivergent individual, with her self-portraits constantly evolving and conversing with each other on the canvas. Although viewers are welcomed into her world, they are still kept at arm's length, like outsiders looking in on a private moment. Education Painting, Camberwell College of Arts Select Exhibitions/Awards Solo Exhibitions 2025 Upcoming Guts Gallery, London 2023 Burnout NBB Gallery, Berlin 2023 Ride or Die, Galerie Fran Reus, Palma 2022 Tiger Stripes and Smoke, Guts Gallery, London 2021 Bad at Life (Good at Painting), Guts Gallery, London 2020 Peeka-Fuckin-Boo Guts Gallery, London 2020 Even Tigers Need a Rest, Aleph Contemporary, London Art Fairs 2023 Everyday Mooonday, KIAF Seoul 2023 Yusto Giner, KIAF Seoul 2023 Galeria Fran Reus, KIAF Seoul 2023 Yusto Giner, ZONAMACO Art Fair, Mexico City Group Exhibitions 2023 NEW NOW, Guts Gallery, London, UK 2023 UNI[2]ON, Union Gallery, London, UK 2023 Meeting Point, Galerie Slika, Lyon, France 2022 Even a Cat Can Look at the Queen, Mrs, New York, US 2022 Grassroots, JVDW, Düsseldorf 2022 Jerry Gagosian's Suggested Followers: How the Algorithm is Always Right, Sotheby's New York 2022 Bag, Pedestal, Rabbit, Potato, Staffordshire Street, London 2021 Strike Me a Pose, Galerie Fran Reus, Mallorca, Spain 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Unsellable, Just a Studio, London 2021 Reality Check, Guts Gallery, London 2021 All Together Now, Big Yin Gallery, St Leonards on Sea 2021 Tiger in a Tropical Storm, Louise Alexander Gallery, Italy 2021 (Re) Birth of Venus, Pulpo Gallery, Munich 2021 A New Art World, Guts Gallery, London 2021 Introducing, Guts Gallery at Sadie Coles 2021 Now, Now, Breach, Miami, USA 2021 Holding Hands, Union Gallery, London 2021 Safe as Milk, Arusha Gallery, Edinburgh 2021 Back to Back, Bowes Parris, London 2020 NBB Paperworks Vol 1, Berlin, Germany 2020 Original Paper, Wilder Gallery, London 2020 Curated for Christmas, Bowes Parris Gallery x All Mouth Gallery, London 2020 Pending, San Mei Gallery, London 2020 Discerning Eye, Mall Galleries London 2020 LIMBO, Everyday Gallery, Antwerp 2020 The Just, Aleph Contemporary, London 2020 Begin Again, Guts Gallery, London 2020 Antifreeze, Bowes Parris Gallery, London 2020 When Shit Hits The Fan, GUTS Gallery, London 2019 Opening Exhibition, GUTS Gallery, London 2019 Let Me Try to Explain, L21 Gallery, Palma de Mallorca, Spain 2019 Manifest The Future, Castiglioni, São Paulo, Brazil 2019 Salad Days, YNGSPC Online Exhibition 2018 Predatory Behaviour, T293, Rome, Italy 2018 Her Presence is Fuel, Mo Gallery, Berlin, Germany 2018 Slightly Seared on The Reality Grill, Unit 5 Gallery, London 2017 Young Contemporary Talent Exhibition, Ingram Collection, London 2017 PC4PC, 198 Contemporary Arts and Learning, London 2015 One Potato, Two, Arch Collective, London 2015 24 Hour Project, GX Gallery, London 2015 UNIT, CGP/ Cafe Gallery, London 2012 CCW Foundation Show, CCW Progression Centre, London 2012 RBA and NADFAS Annual Show, Mall Galleries, London Duo Exhibitions 2021 Achy Breaky Heart, NBB Gallery, Berlin 2021 Sophie Vallance x Banal, Galerie Tracanelli, Grenoble 2019 Sophie Vallance X David Esquivel, Galerie Tracanelli, Grenoble, France 2018 They Said I Was Special, Union Gallery, London 2018 H E R U S, Berlin, Germany 2017 Mine, Others and Yours, We are BUD, Athens, Greece Residencies and Awards 2019 L21 Gallery Residency, Spain 2017 Young Contemporary Talent Prize, Ingram Collection (Finalist) Gallery Representation Guts Gallery Statement about AOAP Submitted Artwork As someone who typically works on square paper and canvas, I wanted to approach the postcard with that in mind. By using collage from an original painting, I made on paper and cutting and placing it to fit the postcard shape it ends up feeling true to my own practice but also true to the spirit of Art on a Postcard. The tiger motif is also a recognisable element from my wider practice, and was enjoyable yet challenging to create small whilst maintaining the feeling of a larger painting.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Glenmorangie 10 YO 3 bottles Glenmorangie 10 YO to include 2 bottles presented in Commemorative “Handcrafts of Scotland” Edition Tins from 1980’s and 1990’s: being 1 bottle75cl bottle from 1980’s ‘Coopering Casks’ Release, together with 1 70cl bottle from 1990’s ‘Selecting the Spirit’ Release and 1 bottle 75cl from 1980’s in Presentation Tube.Qty: 3Wilson55 can help with delivery! Click on the shipping tab for more details.

Various Spirits and Liqueurs 6 bottles including half bottles various Spirits and Liqueurs comprising: 1 x half bottle Polmos Polish Pure Spirit ‘Very Strong’ 79.9% ABV, 1 half bottle Irish Mist Liqueur (in Presentation Box with 2 glasses), 1 bottle Spanish ‘Campeny – El Masnou’ Brandy, 1 bottle Moryoskoff 100 Proof Lujo Vodka of Mallorca, 1 bottle Licor “Vudu” Liqueur Morey Distillery Mallorca, 1 1960’s bottle ‘La Bouteille du Couple – Benedictine B&B – D.O.M. (damaged seals showing signs of seepage).

Prophetic utterances.- Jessey (Henry, editor) The exceeding riches of grace advanced by the spirit of grace, in an empty nothing creature, viz. Mris. [sic] Sarah Wight, lately hopeles and restles, her soule dwelling far from peace or hopes thereof, second edition, woodcut head-pieces and decorative initials, lacking L1&2 and L7&8, title with small hole (just touching tiny part of 1 letter), closely trimmed at foot, affecting the odd signature mark and / or catchword, spotting and staining, lightly browned, later drab boards, soiled, [?Wing J688 (no access due to BL cyber attack], 8vo, Printed by Matthew Simmons for Henry Overton, and Hannah Allen, and are to be sold at their shops in Popes-head alley, 1647. sold not subject to return. ⁂ Rare second edition of this record of the prophetic utterances of the fasting and seriously ill 16 year old Sarah Wight.Provenance: 'Miss Speakman, hur book 1766'; 'Joseph Burnett 1806' (ink inscriptions to verso of title).

A Collection of Assorted Gents and Ladies Wristwatches various makes and styles mostly quartz. Bracelet and leather straps, assorted makes including Seiko, Citizen, Montine, Accurist, Spirit, Citron, Citizen, Terner, etc.

* Lindbergh (Charles A., 1902-1974). Menu card for a breakfast in honour of Captain Charles A. Lindbergh on the presentation of the Raymond Orteig 25,000 Dollar Prize, New York to Paris non-stop flight, Friday, June 17, 1927, Hotel Brevoort, New York, cover with a black and white portrait of Lindbergh with American and French flags, published by Malcolm & Hayes, New York, four printed pages including, menu, speakers and history of the prize, red, blue and white cotton twist string with tassel, 8vo, with additional paper inert plus related postcard of Louvie-Juzon (B.-P.)-L'Église et la Maison Orteig QTY: (1)NOTE:On the 20th of May 1927, the American pilot Charles Augustus Lindbergh left Roosevelt Airport, America at the controls of the 'Spirit of St. Louis'. Lindbergh landed at Le Bourget, France after completing the first ever non-stop solo transatlantic flight in 33.5 hours.

A TRAY OF ASSORTED METALWARE TO INCLUDE A SILVER PLATED SPIRIT KETTLE, SILVER HANDLED KNIVES ETC

Grayson Perry CBE RA,British b. 1960-Forest Spirit Alan Planter;unglazed ceramic, hand decorated, stamped underneath,dimensions: 36 x 21 x 18 cm, (ARR)

Bachmann 00 Gauge group of Goods wagons consisting of 3-pack 37-080T Private owner, 37-105Y 8 Plank Wagon set, Private owners 37-125X Walkers, 37-153 Quibell Bros, 37-075Newstead, 37-427 Denaby, 37-2021K/37-2022K Gloucester railway *2, 37-075S Micklefield, 37075R Redgate, 37-112 North sea Coaling, 38-575/A NE Fish Van *2, 37-706/707 NE Cattle Truck *3, 37-657 Rothervale Tanker, 37-655 Pratts Spirit, 37-675 Mobil and other wagons. Near Mint in Excellent boxes. (25)

An Edward VII silver tea kettle and stand, mark of James Ballantyne & Son, Sheffield 1903, the kettle of baluster panelled form, monogrammed to the side, raised and scrolling parapet, part marked side hinged cover similarly decorated and topped with a rosette finial, the handle with ivory insulators on double scroll supports, raised on a pierced foot with hinge and retainer sockets; the stand similarly decorated, raised on four paw feet with tapering and reeded legs, hinge pin on a short length of belcher link chain, retaining pin lacking, four arm inner frame supporting the spirit burner, 37ozt grossThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate Ref No: KMEGE731G

An Elizabeth II silver three bottle decanter frame with associated cut glass decanters, mark of C.J. Vander Ltd., Sheffield 1999, Millennium marked, display marked, of rectangular form, the square sectioned wire frame with a band of Celtic style decoration, integral carrying handle, 39 x 14cm, 35cm high, 75.5ozt weighable silver, presented along with three cut glass spirit decantersOverall in good condition with no obvious signs of damage or repair. Some minor surface scratches as to be expected. Some scuffing to the bottle wells. Hallmarks clear and readable. Glassware in good condition. Presentation engraving to the underside.

Roger Bannister Autograph, black pen signed (unverified) on an image of him completing the first sub-four-minute mile, as a montage, spirit of sport certificate of authenticity verso, 64 x 66cm. Jessica Ennis signed print (unverified).

A collection of eight various gents military style watches, including AV1-8, anniversary/commemorative Spitfire, Lancaster, Hurricane, 'Lest we forget 100 years', along with Royal Marines and spirit of Ireland all in the original boxes (1 bag)  Note: regarding watches/pocket watches please note movements untested, functionality untested, for more information request a condition report with specific questions or please view in person

Two 19th century brown salt glazed spirit barrels, applied relief of Royal Crest design, Lions and fluted vines, gilt highlights, one titled Rum. Size: 23cm high, 21cm diameter. Further Details: Some small chips to Rum barrel, very worn gilding.

A collection of mixed 19th century and early 20h century glass wares to include glass vases, coloured glass condiments and spirit glasses.

Dame Elisabeth Frink R.A. (British, 1930-1993)Rolling Over Horse signed 'Frink' (on the rear right leg)bronze with a dark brown patina38.9 cm. (15 1/4 in.) wideConceived in 1976, an Artist's Cast aside from the edition of 9Footnotes:ProvenanceAcquired directly from the artist by the family of the present ownerPrivate Collection, U.K.ExhibitedWashington, D.C., The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawing 1950-1990, 1990 (another cast)LiteratureSarah Kent and Bryan Robertson, Elisabeth Frink, Sculpture: Catalogue Raisonné, Harpvale Press, Salisbury, 1984, pp.186-7, cat.no.233 (ill.b&w, another cast)Bryan Robertson, Elisabeth Frink: Sculpture and Drawings 1950-90, The National Museum for Women in the Arts, Washington, D.C, 1990, p.65 (another cast)Annette Ratuszniak, Elisabeth Frink: Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.135, cat.no.FCR262 (ill.b&w, another cast)Dame Elisabeth Frink's sculptures of horses are amongst her most commercial and instantly recognisable motifs with her appreciation of these powerful animals dating back to the earliest work of the 1950s. However, the highest acclaim is reserved for her equine subjects completed between 1969 and 1985, of which Rolling Over Horse (1976) is one. Speaking in reference to this celebrated period, Julian Spalding comments that 'Frink's animals came to feature more and more not as tortured harbingers of terror, but much more quietly, as themselves. Horses roll over and kick in the grass, or they lie down at ease...This is Frink at her most relaxed. She knew everything about horses and had the ability to sculpt them with both broad consequence and, at the same time, exacting precision. This accounts for their strength and agility. There's hardly any detail, but they are so alive that you expect one at any moment to flick a fly away with the swish of its tail or shake of its head' (Julian Spalding in Annette Ratuszniak (ed.), Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.18).Emerging in force during the late 1960s and conceived as both singular entities and with riders, they are largely the result of Frink's time spent in the Camargue region of France, renowned for its semi-wild horses and rugged landscape. Upon returning to England in 1973, shortly before the present work was conceived, the artist continued to explore and develop the horse theme within her work. As with many of the other animals she chose to sculpt and by her own admission, they are more concerned with representing her emotional response to, and spiritual identification with, the subject in question rather than with literal physical form. In view of this particularly subjective approach, Frink denied being an animal sculptor in the true sense of the notion, stating her principal interest to lie 'in the spirit of the animal'. That spirit is clearly demonstrated in the present work, whereby the horse moves with grace, free from human constraint, visible from different angles and positions in a sumptuous brown patina.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

Winifred Nicholson (British, 1893-1981)My Bedroom Window signed, titled and dated 'Winifred Nicholson 1973/'My Bedroom Window' (verso)oil on canvasboard48.5 x 58.8 cm. (19 1/8 x 23 1/8 in.)Footnotes:ProvenanceWith Crane Kalman Gallery, London, November 1974, where acquired by the family of the present ownerPrivate Collection, U.K.One of Winifred Nicholson's most favoured and signature compositions is that of the windowscape, an innovative technique for capturing still life subjects – frequently flowers – as well as the landscape beyond, encompassing the changing tones of the season and creating a sense of intimacy with the interior setting. The present lot shows a very personal view indeed, that of My Bedroom Window.In 1954 Nicholson wrote a short piece entitled I Like To Have A Picture In My Room, in which she lists desires for her ideal domestic space. She states 'I want a window in it, I want a telephone, a radio and a television set. All these are contacts and doors in the outer world' (Winifred Nicholson quoted in Andrew Nicholson, ed., Unknown Colour, Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 234). For the artist, her bedroom was clearly a deeply personal space in which she spent much time, and so to have a picture painted from just this perspective is very special. It is telling that of the above requirements, the window is utmost, and its function in providing an outlook to the natural world must have been, for her, paramount.From the variety of flowers depicted, which include the distinctive bell-shaped blooms of speckled purple and white fritillaries, the season looks to be Spring, with the potted indoor plants protected from the worst of any frosts by their safe position on the windowsill, where they can bask in the warming sun. The six-petalled blue starry flowers are chionodoxa, 'glory of the snow', another spring-flowering bulb which blossoms in dainty sprays. The leaves and flowers in the foreground are intermingled with the just-budding, wayward branches of saplings and trees which fill the garden beyond. The compositional involvement of a half-drawn curtain, patterned with flying birds, further expands on a theme of the revolving cycle of seasonal changes which form a major focus of her work.Nicholson is famed for the attention dedicated to and singular skill displayed in depicting her floral subjects, which is unique. As a review in the Times noted in 1927 of a joint exhibition with Ben Nicholson and Christopher Wood was to observe, 'there is something of an April spirit in her work...in her flower paintings the escape from realism into a new reality, as lovely as that of Nature, and charged with human feeling, is complete.' (The Times, 21 April 1927, quoted in Christopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.73).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)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)Festival, Athènes signé en grec (en bas à droite)technique mixte et feuille d'or sur panneau24 x 35cm (9 7/16 x 13 3/4in).signed in Greek (lower right)mixed media and gold leaf on boardFootnotes:ProvenanceA gift from the artist to a private collector circa 1960.Bonham's London, The Greek Sale, 1 April 2002, lot 78.Acquired from the above sale and thence by descent to the present owner.Athens celebrating the first Monday of Lent is one of Vassiliou's key subjects, considered to be the quintessence of his work and artistic vision.The Monday of Lent marks the passage from a secular period, that of carnival, to a more ascetic and contemplative one, the forty days before Easter. Through fasting people cleanse themselves of everyday mundane thoughts and contemplate matters of life and death, sacrifice and resurrection. This passage is made easier through the feast of the first day of Lent, which combines sadness with hope, yet with a certainty that hope will prevail. There is a definite Byzantine as well as surrealistic quality to this feast, both being captured by the artist.The city seems to float on a golden carpet. The street sellers with their colourful flowers or balloons, the old-time photographer, the horse carriages, the strolling figures are all carried away by the spirit of the day. The impressionistic diminutive pigments give a flickering, micrographic image of the city. Behind the dark mountain the golden Byzantine sky welcomes the kites, which fly free from their cords like birds. Vassiliou never stops being startled, he does not give up on the young child within him. He treasures memories of his youth and shares them with us as a remedy against oblivion. Even the lower part of the work resembles an old mirror that faded as the years went by. Considering the changes in the city's character, Vassiliou's works were almost prophetic. In 'Lights and Shades' he says about the demolition of old houses: '...the salvage remnants of the demolished house laid out on the pavement for sale, at least have something in them to remind us of the human pulse of a city that has lost forever its face and its soul'.Vassiliou creates an 'enchanted city' with face and soul, which accepts the inevitable with dignity.As Haris Kambouridis has noted: ' Vassiliou is a genuine creative artist who combines technical mastery, effective composition, inspirational flair and a talent for self-expression, qualities which have established him as one of the most important Greek artists of this century.' (Haris Kambouridis, Craftsmanship and the human scale in the work of Spyros Vassiliou, Zygos magazine, 1983, vol. II Annual, p.60)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

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