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JANE CHARLES; a contemporary art glass sommerso vase of ovoid form, decorated in blue, green with clear frosted border, height 18cm.Provenance: Complete with bio from Roger Billcliffe fine art.

PER OLOF STROM FOR ALSTERFORS GLASS; a contemporary blue art glass vase with three ringed decoration, with opaque interior, signed and dated 71 to underside, height 17cm.Condition Report: The base is signed, light wear to the underside, but good condition with no chips, cracks or restoration.

Ramsay Gilles, Contemporary Folk Art inspired painted sheet metal rotating sculpture of a Gentleman pointing his finger at thief, raised on a wooden base. (initialled verso) (h- 61cm l-60cm) 

Ramsay Gilles, Contemporary Folk Art painted sheet metal of a rotating figure of a man holding a gun and dog, raised on wooden base. (h-51cm l-56.5cm) (initialled verso) 

A pair of Kinder Harris contemporary art pieces signed Susan one titled Dichotomy I and Dichotomy II, mixed media on paper, both in a glazed silver frame, label verso. (84cmx46cm) (2)

Kay Singla, contemporary, 'Content', limited edition 6 of 25 bronze resin, 30 x 21 x 27cm.Sold with the receipt from Obsidian Art, dated 14th July 2013.

Art Deco style portrait of a lady, contemporary oil on canvas laid on board mounted in embossed pewter frame, overall frame dimensions 51cm x 41cm . Condition Report: Painting appears to be modern and in good condition, frame is early 20th century, slightly dented

Paul Nash (1889-1946), limited edition woodcut on paper, Design 2 (1929), 4.0cm x 10.1cm, mounted, glazed and framed. Published by Garton and Cooke, May 1985.Ed. 12/45. Printed on Japanese Hosho paper by Ian Mortimer from the original woodblocks in the possession of the Victoria and Albert Museum, with blindstamp ofthe Paul Nash Trust. Provenance – Betty Evans Collection, former President of the Contemporary Art Society for Wales . Condition Report:

Burne-Jones (Sir Edward) The Flower Book. Reproductions of Thirty Eight Watercolour Designs, first edition, number 164 of 300 copies, 38 colour plates after Burne-Jones, text printed in red and green, 4-page facsimile list of flower names at end, very light browning to free endpapers, handsome contemporary green morocco, gilt, by the W.H.Smith bindery, spine gilt in compartments, t.e.g., others uncut, preserved in the original velvet-lined drop-front green cloth box with metal catch (slightly rubbed at edges), 4to, Henry Piazza et Cie., for the Fine Art Society, 1905.*** An excellent copy of these typically Arthurian-themed Pre-Raphaelite designs executed by Burne-Jones as a form of relaxation from other projects. "The pictures in this book are not of flowers themselves, but of subjects suggested by their names...All the pictures take the same form, a circle about six inches in diameter - a kind of magic mirror in which the vision appears - and he wished them not to be separated, because, wide as is their scope, one spirit, that of pure fantasy, unites them." (Georgiana Burne-Jones in preface).

Spain.- Escosura (Patricio de la) España Artística y Monumental, 3 vol., first edition, additional lithographed title and 143 tinted lithographed plates, text in double-column of Spanish and French, tissue-guards, plates with publisher's subtle embossed stamp, few very small marginal nicks or tears, some light marginal soiling, scattered foxing, creasing to first few leaves vol. 2 and endpapers, armorial bookplate of Sir C.C.W. Domvile Bart., ex-library copy with bookplate, small ink-stamp to titles, contemporary red half morocco, spines tooled in gilt, small library sticker to foot of spines, extremities quite worn, g.e., [Palau 82011], folio, Paris, Alberto Hauser, 1842-50.

SIR JOHN LAVERY (IRISH, 1856-1941)Study for ‘The Ratification of the Irish Treaty in the House of Lords, December 1921’ signed 'J Lavery' (lower left), inscribed 'HOUSE OF LORDS STUDY/ LAVERY' (on the backboard) oil on canvas-board 25 x 35cm Provenance Property of the Artist; Gifted by Lavery to the sculptor, George Henry Paulin (1888-1962), circa 1934; Gifted by his wife, Muriel Margaret Cairns, to her son-in-law as a wedding present on 15th March 1969; Thence by descent to the present ownerThe present lot will be exhibited at Cromwell Place SW7 2JE on 5th & 6th November; please follow the link below for further detailsWinter highlights previewCatalogue NoteArguably, 16 December 1921 is one of the most auspicious dates in British history. On that Friday, the Irish Treaty passed from the Commons to the House of Lords for ratification. From that moment the British Empire, which had been expanding rapidly since the 1870s, went into steep decline, and civil war in Ireland, watched by Gandhi and others, led to the emergence of a ‘Free State’. The eyewitness on this portentous occasion was Sir John Lavery.He arrived well prepared. Taking his seat in the centre of the Strangers’ Gallery, directly facing the thrones, he had come equipped with a ‘pochade’ box, and an ample supply of 10 x 14-inch canvas-boards, primed in burnt umber (1).Now in his mid-sixties, Lavery’s illustrious career began over thirty years earlier when, as a Paris Salon medallist, he was commissioned to paint The State Visit of Queen Victoria to the International Exhibition, Glasgow, 1888 (Glasgow Museums). One of the first featured artists at the Venice Biennale and an Academician, he had been knighted for his services as an Official War Artist. Although known as a portrait painter, Lavery was also renowned for his ability to capture the specific newsworthy occasion. That early royal reception in Glasgow lasted no more than 30 minutes, but his job was not only to record the scene, but also to portray each of its 254 participants – a task that took two years to complete. Something of the same challenge lay before him in December 1921 when Earl Morley rose in the Lords to present the Irish Treaty Bill. Lavery could not know in advance how long he would have, so he must work quickly, roving his eye to either side of the house, catching profiles from the seated members. These vital jottings were not composed as pictures; they were fragments to be brought together in the studio.In the present work, a recently rediscovered missing link in the series, the artist catches the heads of three women spectators in the Strangers’ Gallery, dropping to two series of members’ rows taking us down to the floor of the house and what may be the head of Morley – a mere dab of flesh colour. Then in the foreground, directly beneath where he was sitting, we see the barristers’ desk with its litter of papers, facing the Lord Speaker’s and Judges’ woolsacks (2).  Other canvas-boards produced in the same few minutes show rows on the left of the house and more prominent identifiable heads (fig 6) (3).Two ensemble sketches also form part of the series, one revealing the full range of benches to left and right (fig 7), and the other, the full height of the chamber – as would be seen in the final composition (4). With these in hand Lavery started work immediately on the large version which was to be his principal exhibit at the Royal Academy the following year, hailed in one newspaper as examples of ‘that most difficult branch of art, the painting of contemporary history’ (fig 8) (5).Although tempted to file away, paint over or otherwise discard his working notes, Lavery seldom did so. When giving one to Sir Ian Hamilton for instance he told him that this was the first oil painting of the House in session, adding that it was thus, an ‘historical document’ (6).  This was to be the case a dozen years later when the present sketch was retrieved from the racks for George Henry Paulin ARSA (1888-1962) in gratitude for his fine portrait of Lavery, a cast of which can be found in Glasgow Museums (fig 9) (7).Prized for their authenticity as ‘historical documents’, Lavery’s on-the-spot sketches do not neglect the aesthetic potential of what lay before his eyes. As in the present case, collaged and disconnected vignettes are set down with remarkable spontaneity. They are neither snapshots nor newsreel. No nearby gossip nor sudden crash would distract him. Throughout his career observers, those looking over his shoulder as he worked, commented upon his formidable concentration as the action rolled out before his eyes. He kept pace with its unfolding even in the most testing of circumstances. Mastery is avid of complications. He was trained for this. Bellmans are extremely grateful to Professor Kenneth McConkey for this catalogue note.Footnotes1. Lavery had sought the assistance of Sir Patrick Ford and Lord Birkenhead in obtaining permission to paint while the House was in session; see John Lavery, The Life of a Painter, 1940, (Cassel), p. 186-7. 2. Lord Curzon, the Lord Speaker, during these years was acting as Foreign Secretary, but frozen out of the Peace Treaty negotiations at Versailles by Lloyd George, frequently passed his duties to his friend, FE Smith, Lord Birkenhead. 3. Two other identifiable sketches are known (both private collections), one naming the chief actors –Carson, Birkenhead etc. 4. The upright sketch is contained in the National Gallery of Ireland, Dublin.5. Sheffield Daily Telegraph, 5 May 1922, p. 6. 6. Quoted in Kenneth McConkey, John Lavery, A Painter and his World, 2010 (Atelier Books, Edinburgh), p. 236 (note 37). Lavery frequently gave sketches like these as souvenirs to friends and sitters. Lavery’s own views on Irish independence were clearly declared in a letter to his friend and pupil, Winston Churchill, then Minister for the Colonies. He wrote that he believed that Ireland ‘…will never be ruled by Westminster, the Vatican, or Ulster, without continuous bloodshed … and [that] leaving Irishmen to settle their own affairs is the only solution’ (McConkey 2010, p. 154). 7. Paulin’s sculpture was currently on exhibition at the Royal Glasgow Institute of the Fine Arts in October 1934 (no 4) and the cast was acquired by Glasgow Museums at this time. The work (possibly a further cast) was then exhibited with a series of artists’ portraits in Paulin’s exhibition at the Walker Galleries, London, in June 1935.Condition ReportThe canvas-board is sound; paint surface in good original condition; minor frame abrasions to outer edges, only visible upon examination out of frame; ultraviolet reveals an even varnish but no sign of retouching - good, original condition; under glass and held in a gilt-painted wooden frame in fair condition.  

JULIAN TREVELYAN (BRITISH, 1910-1988)Camel Corps (1972) signed, numbered and titled in pencil 'Julian Trevelyan 129/250' (in lower margin), printed by Studio Prints, London, published by Christie's Contemporary Art, London, with their blind stamp etching with aquatint 35.5 x 48cm (unframed) ARR Provenance Private collection, UKCondition reportLight crease to upper left border; patch of light staining, lower right border, a few few very minor scattered spots elsewhere to border, generally sound.

λ† LUCY MCKENZIE & BECA LISPCOMBE (ATELIER E.B) 'CIPOLINO-HYRO' SCREEN, 2013 Double-sided folded screen in six panels; one side with mirror panel and silkscreen on velvet mounted on wood, oil on canvas mounted on wood, steel frame 184cm x 390 cm(72½in x 153½in)'Textile designer Beca Lipscombe and the visual artist Lucy McKenzie run their independent fashion label, Atelier E.B, whose initials stand for their respective locales: Edinburgh and Brussels. The pair created their first paravent - they favour the French term for a folding screen, with its seaside insinuation of protection from bluster - in 2011 for their debut collection, which they called 'The Inventors of Tradition'. It was a sumptuous mix of intarsia knit jumpers, artists' work coats, lavishly ribbed cashmere skirts and Aran sweaters, all made to order in mills in the Scottish Borders and rust belt.' "Paravent I" which had Lucy's brushwork of the Clydebank skyline with the Singer sewing machine factory on one side; and Beca's prints of a tiled Glasgow close on the other, was sold through Lucy's London gallery 'Cabinet' for £25,000. Ten paravents have since been created. ~ The Gentlewoman, No. 25, Spring/Summer 2022 "Our paravents-all of which have one side screen-printed by Beca and the other painted by me-are art-design hybrids and an expression of the individualism we maintain in our partnership. There is space within the collaboration for a certain naiveté about the other's field of expertise, with which we can give one another fresh perspectives. The paravents symbolise that we are a unit, standing back to back, looking in different directions. The notion of the screen mirrors the collaboration, as a space within which we can be both together and autonomous"' ~ Lucy McKenzie with Beca Lipscombe, "Atelier E.B - Back-to-back," in Atelier E.B Passer-by. London: Koenig Books, 2020. Atelier E.B have permanent works held in the collections of the V&A Museum, London, and V&A Dundee. Atelier E.B's 'Faux Sports Shop' is currently on show as part of Lucy McKenzie's 'Super Palace' exhibition at the House of Contemporary Art, Design and Architecture in Hasselt, Belgium. We would like to thank Beca Lipscombe for her assistance in cataloguing this lot. Condition Report: In good (as new) condition. With a small patch of paper label residue to the top left panel (on the canvas side).Condition Report Disclaimer

After Paul Nash, British 1889-1946, Pattern Paper No.22, 1927; woodcut on Japanese Hosho paper, numbered 12/45 in pencil, with blind stamp of the Paul Nash Trust, printed by Ian Mortimer from the original woodblocks, published by Garton and Cooke, 1985, image: 9.5 x 9.5cm, (framed) Provenance: Betty Evans collection, former President of the Contemporary Art Society for Wales. 

George Condo, American b.1957-A portfolio of prints from More sketches of Spain for Miles Davis, 1991;six etchings and aquatint on Guarro paper, each signed in pencil and numbered from the edition of 40, published by Alexander Kahan, New York, sheet: 97.7 x 132 cm, (unframed) (6)Note: American artist George Condo frequently cites Picasso as a source in his contemporary cubist compositions. Condo is known for neo-Modernist compositions redolent of wit and the grotesque, which draw the eye into a highly imaginary world. Condo came up in the New York art world at a time when art favoured brazen innuendo and shock. Student to Warhol, best friend to Basquiat and collaborator with William S. Burroughs, Condo followed a different path, and came up with his own style, inspired by Picasso and the Old Masters.

signed and dated 'Cedric Morris 45' (lower right), oil on canvas, 63.5 x 63.5 cm, framed 69.5 x 69.5 cm Provenance Property of Mrs Phyllis Bowen, thence by descent.Exhibited National Museum of Wales, Cedric Morris Retrospective Exhibition, 1968, no.67 (Welsh Arts Council label verso).Footnote Phyllis Bowen (1903 - 1999) started being involved with the Welsh art scene after World War II when living at the Castle House in Laugharne, on the South coast of Carmarthenshire. She began organising exhibitions here and her subsequent move to Cardiff with her husband. In her memoirs, 'The Baker's Daughter - recollections by Phyllis Bowen of Pontypridd', she describes the following, 'The pictures have always been dear to me because I knew personally practically every painter whose work I bought, so that it was like being surrounded by my friends. I think it was probably members of the Contemporary Arts Society who gave a little dinner for me and the society also made me a vice-president at that time, the second one after Cedric Morris'.Another Cedric Morris still life painting in her collection was bequeathed to the National Museums & Galleries of Wales. Overall in good, original condition. Some surface dirt. A few lines of craquelure and one speck of loss to one of the apples. Unlined. No evidence of retouching when viewed under UV light.

Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)A Harbour signed 'C.R.W. Nevinson.' (lower left)oil on canvas61 x 46.2 cm. (24 x 30 in.)Footnotes:ProvenanceRobert Douglas (1909-1999), thence by descent to the present ownerPrivate Collection, U.S.A.ExhibitedPossibly, London, Goupil Gallery, First Exhibition of Works by Members of the London Group, 1 March-1 April 1914 (cat.no.75)The location of the harbour or port had been of interest to artists in Western Europe for some time, cemented in the Academic tradition by the work of figures such as Claude Lorraine in the seventeenth century. But it was given new impetus with the development of the modern world, providing a unique and vibrant palette and a variety of subjects unavailable further inland. In particular, the idea of a harbour as a point of transition seemed to offer itself as a metaphor for the developments that were happening in the visual arts at the time. The harbour was where land met sea, where traditional fishermen would haul their catch ashore alongside modern cranes raising up dockyards and industrial hubs to drive a rapidly increasing international freight market. A Harbour shows more of the former – of fishermen in smaller, more traditional wind-powered boats, but it does so in a very contemporary visual language. The influence of Cubist developments is pronounced, with fragmented, multifaceted surfaces reflecting a variety of different viewpoints and angles of vision. Particularly arresting are the masts of the two boats in the foreground, and their impact on the composition: Nevinson uses them as vertical delineators to affect sudden shifts in the work, dividing it into three. The right-hand sail creates a flat, blank surface of white, while the left-hand sale inverts this, forming a triangle of clearer, more intense colours and forms, shifting again at its mast to a hazier panel on the left. Nevinson was far from alone in his interest in this subject matter, but the prominence it took through some of his most well-known works, such as Arrival (1914, Tate Gallery) or Le Vieux Port (circa 1913, Government Art Collection), remains of significant interest. The transitional, metaphorical role that the harbour could play and the visually varied subjects it could offer made it perfectly suited to his interests. The present work is not as aggressively Futurist as some of his harbour works, and is composed with a subtlety and stylistic nuance for which the artist is not always credited. This subtlety provokes a deeper line of engagement that allows the viewer to look past the immediate, surface-level statement at hand, and towards more underlying, fundamental developments in artistic ideas that can be traced back to Cézanne, who Nevinson revered greatly. The present work was formerly owned by the renowned British actor, director and producer Robert Douglas. Douglas acquired the work in the UK whilst a star of the West End, prior to his relocation to Hollywood in 1948, and it has remained in his family collection ever since.We are grateful to Christopher Martin for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

John Piper C.H. (British, 1903-1992)St Davids, Dyfed signed 'John Piper' (lower right) and titled 'St Davids Dyfed' (verso)watercolour, pastel, ink, gouache and pastel57 x 77.8 cm. (22 3/8 x 30 5/8 in.)Executed in 1982Footnotes:ProvenancePrivate Collection, U.K.With Martin Tinney Gallery, Cardiff, 1 December 2007, where acquired byBernard Kelly, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedCardiff, Martin Tinney Gallery, 20th Century and Contemporary Welsh Art (catalogue untraced)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

HUME (DAVID)Series of six autograph letters to his close friend William Mure of Caldwell (1718-1776), and one contemporary copy of a letter to his cousin the Rev. John Home (1722-1808), comprising:i) Autograph letter signed with initials ('D.H.') to 'My dear Baron', prior to taking up his new position in Paris, explaining that despite being initially reluctant to take up the post he is now '...entirely reconcild to my present Situation...', expressing his esteem and affection '...for the Person & Family, whom I am to accompany to France...', sure that Lord Hertford will obtain a settlement for him for life ('...which at any Events will improve my Fortune...'), enclosing an account of '...most astonishing Events with regard to public Affairs... Never in any History, was there so curious a Scene... Many of the leading Men in the Opposition were left out in Mr Pitt's Plan; which is thought will breed Dissentions among them...', mentioning as a postscript that he had left '...poor Blacklocke [the poor blind poet] as a legacy upon you...', docketed in another hand, 3 pages on a bifolium, dust-staining and marks, small tears and creases at folds, 4to (234 x 190mm.), Lisle Street, 1 September 1763ii) Autograph letter signed ('David Hume') to 'My Dear Baron', confirming that he has given Mure's man his expenses ('...I drew upon Jemmy Coutts for it...'), recommending Samuel de Meuron as tutor for his sons ('...I like his Looks & Behaviour... Your project is good: The French Language is very useful; and if not acquired when young, never is thoroughly learned...'), has dined with the Duchess of Perth with whom he discussed the Douglas affair and me with '...a Gentleman... who laid open to us, a Scene of such deliberate Dishonesty on the art of her Grace of Douglas... as was somewhat new & surprizing...', scandalised at the behaviour of Frank Garden [lawyer for the Douglasses], on life in Paris ('...amusing enough... What between public business the Company of the learned and that of the Great, especially of the Ladies, I find all my time fill'd up, and have no time to open a Book, except it be some Books newly published, what may be the subject of Conversation...'), awaiting with stoicism his formal appointment as Secretary to the Embassy, docketed in another hand, 4 pages on a bifolium, dust-staining particularly at folds, a few small tears and pin holes, 4to (218 x 174mm.), Paris, 22 June 1764iii) Autograph letter signed ('David Hume') to 'Dear Baron', on the difficulties of finding a French or Latin master for Graffigni at his school, that Graffigni has been dropped by D'Alembert, Helvetius and others and suggesting he remove his sons from the school ('...He is an empty, conceited Fellow, full of Chimeras and Pretensions; and I think you are at no great Loss for parting with him...'), anxious to hear of the Hamilton cause, integral autograph address panel, docketed in another hand, 2 pages on a bifolium, dust-staining and smudges, some small tears, seal tear, remains of red wax seal, 4to (237 x 185mm.), London, 7 July 1767iv) Autograph letter signed ('David Hume') to 'Dear Baron', following his letter to Mrs Mure he confirms that Mure's sons are doing well at Graffigni's ('...They are really well in every thing that concerns Heath and Exercise... improving in English and also in French and will now go on in Latin... Graffigni's Conceits, tho' they appear to me nonsensical can do them no hurt...'), reporting that the Grenvilles, Rockinghams and Bedfords '...have enterd into a sworn Confederacy to adhere to each other...' against Bute and his supporters, on Hamilton's victory ('...The triumph of Reason over Prejudice was very Signal even in the small Majority among your Judges...'), docketed in another hand, 2 pages on a bifolium, dust-staining and marks, small tears at folds, 4to (237 x 183mm.), [London], 18 July 1767v) Autograph letter signed ('D. Hume') to 'Dear Baron', unimpressed with the progress of '...your young Folks...' in Greek and Latin as they are not taught Grammar but are '...only instructed in the Sense of single detach'd Words... I doubt a dead Language can never be learnt in this manner... In a living Language the continual Application of the Words and Phrazes teaches at the same time the Sense of the Words... a List of Words... easily escapes the Memory...', but concedes that they are '...well in the point of Health and Morals...', and that he is deliberating on the education of his nephews, docketed in another hand, one page on a bifolium, dust-staining, creased at folds, 4to (236 x 184mm.), [London, end July 1767, received 4 August according to docket]vi) Autograph letter signed ('David Hume') to 'Dear Baron', regretting he can not see him until the winter as he is '...engaged in building a house, which is the second great Operation of human Life: For the taking a Wife is the first, which I hope will come in time...', needing to be there to prevent '...Mistakes, which the Mason was falling into...', and sending good wishes to his family, integral autograph address panel, docketed in another hand, one page on a bifolium, dust-staining particularly at folds, small closed tear over signature, pencil marks, seal tear, remains of red wax seal, 4to (227 x 185mm.), Edinburgh, 2 October 1770vii) Contemporary copy of a letter, the original now lost, to his cousin, the Rev. John Home, mourning the '...irreplaceable...' loss of his friend ('...The Baron was the oldest and best friend I had in the World...'), unable to travel from home on Dr Black's orders who has advised '...that I shall dye with much greater Tranquility in St David's Street than anywhere else...', listing a number of friends who can give spiritual assistance ('...not to mention a Casual Exhortation from Carlysle or from you...'), and asking him to '...Bring [Adam] Smith with you...' next time he comes, 2 pages on a bifolium, dust-staining, creasing, 8vo (184 x 110mm.), [Edinburgh, 12 April 1776, copy c.1777-1780] For further information on this lot please visit Bonhams.com

YIANNIS MORALIS (1916-2009)Eroticon signé, situé en grec et daté '1997' en haut à droite; signé, daté et inscrit 'Yannis MORALIS / Athènes/ Grèce / 1997' au reversehuile sur toile130 x 195 cm. (51 3/16 x 76 3/4in.)Peint en 1997.signed, situated and dated '1997' upper right; signed, dated and inscribed 'Yannis MORALIS / Athènes/ Grèce / 1997' on the reverseoil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 2002, no. 5 (illustrated in the exhibition catalogue).LittératureMoralis, Adam Editions, Athens 2004, text by C.Christou, numero 273 illustrated. Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 114 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 93 (illustrated).Highlighted by the poetry and eroticism of the curved line, Erotic recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the musical resonance generated by the combination of varied types, shapes and colours. The stark juxtaposition of the fair-skinned female figure with the dark male form—which alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and endows it with a classical sense of structure and balance.As noted by the late Director of the National Gallery in Athens M. Lambraki-Plaka, Moralis spontaneously complies with the laws of classical form. His vertical, horizontal, diagonal, and curved lines articulate a harmony full of tension hidden beneath a seeming serenity, attesting to Heraclitus's dictum that the hidden harmony is better than the obvious. His figures, standing or seated, in relaxing poses or engaged in the struggle of love, compose an animate geometry. Moralis is a classical artist for one more reason: his forms are highly sculptural, tactile. Even his most abstract forms encapsulate the memory of touch. This is perhaps why he loved the curve, the orbit of caress. The alchemy of his art hides another secret: the more abstract he got, the more sensual he became. In his later works, the opposing curves of the youthful bodies articulate an ideogram of love. ¹Demonstrating solid structure, disciplined rhythm, purity of form, harmony of proportion, and ingenious interplay of gently flowing curves, Erotic achieves a striking balance between feeling, intellect, and physical passion. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.' ² True to his classical Greek heritage and yet utilising a formal vocabulary balanced to the scale of modern sensitivity, Moralis sought the rediscovery of a universal measure for logos and pathos. 'He used abstraction to isolate the core of human life, to create a language of symbols. He paints the Aegean Sea, the isle of Aegina, the union of human bodies: evocative forms that echo age-old memories, freed from the burden of their physical existence.' ³ Erotic was painted in the summer of 1997 on the island of Aegina at the artist's sun-filled home studio designed by the legendary architect Aris Constantinidis. Moralis used to spend long periods of time on the island during which he produced some of his best works. For him, summer in Aegina started on the week before Easter and ended in mid-October. In Erotic, the mesmerising golden horizontal line that runs across the picture plane is a subtle allusion to the distant flickering lights of metropolitan Athens as seen from the shores of Aegina on a warm summer night. ¹.M. Lambraki-Plaka, Yannis Moralis, 'Classical Harmony and the Integrity of the Gaze' in A Tribute to Yannis Moralis for the Centenary of his Birth, National Gallery - Alexandros Soutzos Museum edition, Athens 2015, pp. 11-13. ². V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.³. Y. Bolis, Yannis Moralis [in Greek], Ta Nea editions, Athens 2007, p. 79.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 (1902-1985)L'étudiante inscrit en grec au centre sur l'étiquette encaustique sur panneau dur122 x 54 cm. (48 1/16 x 21 5/8in.)written in Greek in the center on the labelencaustic on hardboardFootnotes:ProvenanceThe artist's collection, Athens.Private collection, Athens.ExpositionsAthens, Zappeion Hall, Panhellenic Art Exhibition, April-May, 1952, no. 69 (listed in the exhibition catalogue, p. 7).Athens, Martinos Gallery, Spyros Vassiliou, Loved Ones, May 2003, no. 17 (illustrated in the exhibition catalogue).Thessaloniki, Municipal Cultural Center, 42nd Dimitria - A Journey in History: Three Centuries of School Textbooks, September 9 - October 10, 2007 (illustrated in the exhibition catalogue, p. 173) LittératureS. Vassiliou, Lights and Shadows, Athens, 1969, p. 304 (catalogued), p. 116 (illustrated, fig. 124).H. Kambouridis, Spyros Vassiliou, Exhibitions, Ikaros editions, Athens 1982, p. 46 (listed).A. Kouria, Images of Children in Greek Art of the 20th Century, Dodoni editions, Athens 1991, p. 73 (mentioned).Spyros Vassiliou Atelier, 2007-2008 Educational Programs, brochure, Athens 2007 (illustrated). I. Orati, Spyros Vassiliou, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, p. 47 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Spyros Vassiliou Works, p. 1 (illustrated).E.D. Matthiopoulos ed., The Institution of the Panhellenic Art Exhibition 1938-1987, Rethymno 2022, p. 142, fig. 12 (illustrated). This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

YANNIS ADAMAKOS (born 1952)Vert signé en grec en bas à droitehuile sur toile90 x 120 cm. (35 7/16 x 47 1/4in.)signed in Greek lower rightoil on canvasFootnotes:ExpositionsPatras, Epikentro Contemporary Art Space.For further information on this lot please visit Bonhams.com

NIKOS ENGONOPOULOS (1907-1985)Vincenzo Cornaro et Georgios Chortatzis signé en grec et daté '79' en bas à droitehuile sur toile contrecollé sur panneau 55 x 45 cm. (21 5/8 x 17 11/16in.)Peint en 1979.signed in Greek and dated '79' lower rightoil on canvas laid on panelFootnotes:ProvenanceThe estate of the artist.Private collection, Athens.Bonhams Greek Sale of 21 November 2018, lot 33.Acquired from the above sale by the present owner.ExpositionsAthens, National Gallery and A. Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 100 (listed and illustrated in the exhibition catalogue, p. 16).LittératureTo Vima daily, March 20, p. 5, 1981 (illustrated).Epikaira magazine, no. 661, 1981, p. 99 (illustrated).Kathimerini daily, April 12-13, 1981 (illustrated).Epikaira magazine, April 14, 1983, pp. 68-69 (illustrated).Ta Nea daily, November 11, 1984 (illustrated).Techni kai Logos magazine, no. 3, December 1985, p. 27 (illustrated). Diavazo magazine, no. 381, January 1998, p. 151 (illustrated).Vradyni daily, January 25, 1998 (illustrated).D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 270 (listed), pp. 239-240 (discussed).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 1095, p. 382 (illustrated), p. 518 (illustrated).D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets, Gutenberg editions, Athens 2007, p. 155 (referred).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 233, pp. 564-565 (discussed), p. 566 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros, 2017, p. 103 (referred).Drawing from the vast storehouse of Greek literary tradition and inspired by the heroism, nobility and romance of bygone eras, Engonopoulos paid homage to the two towering figures of the Cretan Theatre, whom he considered 'links in the chain of Greeks who did everything perfectly.'1 As noted by the artist himself, 'the Cretan Theatre enchanted me and captured my heart at first sight. It's a world in itself, full of conflicting passions, desires, misunderstandings, intentional or otherwise, skulduggery, weeping and laughter. And what action, plot twists and unexpected developments! All told in an impeccable style, flawless language and perfect, often brilliant, verses.'2Captured in full frontal pose, the two figures are reminiscent of Byzantine depictions of military saints.3 On the left, Cornaro in nobleman's garb is pointing upwards with one hand and holding a scroll, probably a poem, with other, while on the right, Chortatzis, also in noble yet less fancy clothing, is wearing a broad-brimmed hat and holding a sword, recalling the definition of Poetry by the great romantic Percy Shelley: 'Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.'4 The action takes place by the sea, with Heraklion's Fortezza and Sitia's Kazarma forts in the background, depicted as a truncated cone and a high gated wall respectively, in a typically surrealist topological inconsistency.5The great Vincenzo Cornaro (1553-1613/4)6, a cultivated artist concerned with invigorating classical tradition, was a leading figure of the Cretan Renaissance and writer of Erotokritos— a romantic epic unanimously acknowledged as the masterpiece of Cretan poetry and a milestone in the history of Greek literature.7 Georgios Chortatzis (1550-c.1610) was also a first rank dramatist and poet, who introduced the theatre to Crete and elevated the local idiom into a literary language.8 His better known works include the comedy Katsourbos and Erofili (Erophile), a tragedy recalling, in broad terms, Sophocles's Antigone. Engonopoulos kept copies of all four plays in his library.9Engonopoulos's persistence on indigenous cultural experiences clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity from Aeschylus to Romanos the Melodist, demotic songs and Erotokritos.'101. Interview by T. Manikas [in Greek], Vima daily Sunday edition, November 5, 1995.2. N. Engonopoulos, 'A Few Words About the Cretan Theatre' [in Greek], Theatro magazine, no. 7, January-February 1963, p. 26.3. Compare Saint George and Demetrios, portable icon, second half of the 15th century. (From Byzantium to El Greco, Royal Academy of Arts, London 1987, p. 106. Fig 38.)4. See M. Anthis, 'Renditions of Solomos in Greek Surrealism' [in Greek], Avgi newspaper, 20.7.2015.5. See N. Chaini, The Painting of Nikos Engonopoulos [in Greek], doctoral dissertation, National Technical University of Athens, 2007, pp. 564-565, and D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 240.6. Engonopoulos has also written a poem titled Vincenzo Cornaro (In the Valley with the Rose Gardens, Ikaros editions, 1992, p. 105).7. Cornaro's romance became a national poem and its hero a symbol of Hellenism, exalted side by side with Digenis Akritas and Alexander the Great.8. See L. Politis, A History of Modern Greek Literature, Oxford University Press, 1975, pp. 55-56.9. Vlachodimos, pp. 258-261.10. N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

GEORGIOS ZONGOLOPOULOS (1903-2004)Tel-Néant signé en grec sur la baseacier inoxydable 247 x 210 x 82 cm. (97 1/4 x 82 11/16 x 32 5/16in.)Réalisé en 1998.signed in Greek on the basestainless stealFootnotes:ProvenanceDenise René Galerie.Private collection, Athens.ExpositionsArt Athina, 1998.Athens, Stavros Niarchos Foundation Cultural Center, George Zongolopoulos: The Vision of Public Sculpture, January 28 - May 31, 2019, no. 21 (listed in the exhibition catalogue).A work of imaginative power and intellectual verve that explores the expressive potential of volume and the rhythmical relations between solids and voids, the monumental 13x10m stainless steel and plexiglass grid sculpture Tel-Néant was first exhibited at the 1997 Venice Biennale, and subsequently travelled to Berlin (1998) and Weimar (1999). In 2001 it was installed at the headquarters of the Hellenic Telecommunications Organization (OTE) in the Athens suburb of Maroussi. Since 2005, a smaller scale version adorns the gardens of the Presidential Mansion. Zongolopoulos created Tel-Néant in loving memory of his wife, the painter Eleni Paschalidou-Zongolopoulou (1909-1991), as a way to symbolically communicate with her through a construction that resembles a nexus of telecommunications masts and satellite dishes. He named his sculpture Tel-Néant, meaning To the Beyond. Throughout his long and prolific career, whether adopting figuration or abstraction, and in spite of the bold and original nature of his work, Zongolopoulos has always been deeply committed to history. He experimented with all kinds of materials, media, forms, and styles, and never ceased to believe that space is fluid and dynamic in relation to time and nature. As noted by prominent French art critic and founder of the Salon de la Jeune Sculpture Denys Chevalier, Zongolopoulos, with the purity of his original ideas, the economy of expression, and the rigor of his statements, belongs to the first rank of contemporary artists who set out to create sculptures based not on fleeting trends but rather on something permanent, belonging to both the past and the future.¹¹. See catalogue of the Zongolopoulos showing at the 1993 Venice Biennale.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

DIKOS VYZANTIOS (1924-2007)Nocturne signé 'D. Vyzantios' en bas à gauchehuile sur toile130 x 162 cm. (51 3/16 x 63 3/4in.)Peint en 1971.signed 'D. Vyzantios' lower leftoil on canvasFootnotes:ExpositionsHora Andros, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Dico Byzantios, Abstraction + Figuration, June 30 - September 22, 2019.LittératureDico Byzantios, Museum of Contemporary Art - Basil and Elise Goulandris Foundation edition, Andros / Athens 2012, no. 62 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Herbert Wilson Foster,  British 1846/48-1929- Alma, portrait of a young lady, bust-length, wearing a pink dress with a green-trimmed frill and holding a bunch of daffodils; oil on canvas, signed 'HW Foster' (upper left), bears artist's label attached to the reverse, 47.5 x 40 cm. Exhibited:  130th Royal Academy Exhibition, 1898, no.933. Note:  Foster exhibited a number of works at the Royal Academy between 1873 and 1899, including the present painting, which exhibits the artist's great skill and sensitivity as a portraitist. Indeed, Foster's close attention to detail is exhibited by the fact that he worked for a time as a porcelain decorator, specialising in portraits of members of the royal family, amongst other contemporary figures, for manufacturers such as Mintons. In 1893, Foster accepted a position teaching at Nottingham School of Art, where his pupils included Laura Knight (1877-1970) and Harold Knight (1874-1961). 

Annie French,  Scottish 1872-1965- By Lamplight; pen, ink and coloured washes on paper, 24.8 x 31.2 cm (unframed). (ARR). Provenance:  Sotheby's at Scone Palace, 13 April 1981, lot 95.  Note:  French studied under Francis Newbery (1855-1946) and Jean Delville (1867-1953) at the Glasgow School of Art, which she attended between 1886-89. It was here that she was associated with a group of pioneering female artists and designers, including Jessie M. King (1875-1949), Frances MacDonald (1873-1921), and Ann Macbeth (1875-1948), who later became known as the 'Glasgow Girls'.  French is known for her distinctive illustrations which are clearly heavily inspired by the Art Nouveau movement, with swirling, dense, and highly graphic compositions which exhibit the influence, in particular, of her contemporary Aubrey Beardsley (1872-1898). The present work is particularly striking in its intricacy, with the subject, depicting a girl utterly engrossed in a book whilst seated in a thicket, evoking a sense of fantasy and reverie which renders French's work so compelling. 

Annie French,  Scottish 1872-1965- A young woman in a floral cloak, holding a bunch of roses; pencil, ink and watercolour on paper, bears pencil inscription 'EX LIBRIS ANNIE FRENCH' to the upper border, 19.2 x 12.7 cm (unframed). (ARR). Provenance:  Christie's Scotland, 9th April 1981, part lot 19;  The Collection of the Late Lee Witkin;  His Estate;  Where acquired by the present owner. Note:  French studied under Francis Newbery (1855-1946) and Jean Delville (1867-1953) at the Glasgow School of Art, which she attended between 1886-89. It was here that she was associated with a group of pioneering female artists and designers, including Jessie M. King (1875-1949), Frances MacDonald (1873-1921), and Ann Macbeth (1875-1948), who later became known as the 'Glasgow Girls'.  French is known for her distinctive illustrations which are clearly heavily inspired by the Art Nouveau movement, with swirling, dense, and highly graphic compositions which exhibit the influence, in particular, of her contemporary Aubrey Beardsley (1872-1898). 

Ignacio Lalanne -Contemporary Artist. " Sigillum Rigis" Original Oil on board Monogrammed lower left.  Signed, titled and  seal marked to Verso. 58.5cm x 43cm A rare opportunity to own an Original work by this artist. Ignacio Lalanne trained at Chelsea College of Art and Design and at Central Saint Martins. Art history, court painting, religious iconography, costume drama and diverse cultural references all influence and inform his art. Using narrative and symbolic elements he tries to discover the innermost sacred hidden deep within us.

Kevin T Kelly - American Contemporary Artist B.1960 A Limited Edition Large scale Pop art Poster. "War Bonds" Issued by Rosenstiels London 97/100 with Certificate that is numbered to match the print carrying the embossed stamp signed by the artist. Kelly’s work is decidedly “Neo-Pop” or “Post-Pop”. Infused with a postmodern sensibility, contemporaneous subject matter, and executed in what the artist refers to as a “hyper-chromatic” palette. War bonds are debt securities issued by governments to finance military operations in times of war, but this title suggests the bonds that are made between people during wartime. In many of his images depicting fighter aireraft the background acts as a metaphor to amplify the imagery in the foreground. The fireball could suggest either flirtatious attraction or detection of betrayal between the couple. Has the P-51 Mustang pilot just destroyed his target or is he narrowly making an escape? Is the man in the foreground the pilot? Is the woman? Or are they sipping champagne at a gala completely unaware their country is at war in a far-off land? Approx Size 152cm x 78cm (there may be minor creasing and/or small tear to outside edge border though general handling) P

David Dodsworth - British Postwar & Contemporary artist -  born 1952 Mixed media print (Pair) Integer  &  Integer I Artist Proof  Hand embelished.   Signed and Titled in pencil 63cm x 55.5cm frame inclusive He was influenced at an early age by religious paintings. Later, he became increasingly fascinated and pre-occupied with primitive mark making and hieroglyphics. His work is much influenced by his study of prehistoric cave art, and he is inspired by primitivism, religion and technology. He is noted for his use of highly textured hand-made paper, with metallic foil embedded within the print.

Peter Cosslett - " Fishing Boats on a rough sea" original oil on boardThree Fishing Boats navigate the rough seas near a costal headland.Signed lower left67.5cm x 93cm frame inclusive.Born in Cardiff  (1927 - 2016) Peter started his working life in the merchant marines, where he first became fascinated with the power of the sea. After the war he took up painting as a pastime. A serious illness which resulted in a leg amputation was a turning point for Peter and he decided to try to make a career out of his paintings, the one thing he loves. He started to attend art classes at night school but was told that there was no more they could teach him. He continued to teach himself through a process of trial and error.He has been described as probably one of the greatest contemporary realist painters of British seascapes, riverine landscapes and coastal scenes.  

Duran - Spanish contemporary Impressionism  A large oil on canvas depicting a vibrant Spanish street scene. The play of the warm sunshine through the trees beautifully captured.  85cm x 100cm frame inclusive. Duran - born Valencia 1941. Formally art trained. Exhibited throughout the continent and UK.

A quantity of Contemporary framed and glazed modern art works and prints, to include Market Day, Soraya French; Anna Redwood; Bob Brown, "Desert Storm Palmora" 10 x 12; etc, see all images

ARR Nigel Temple (1926-2003)Royal Cyphersigned and dated lower right 16.11.2000mixed media with collage47cm x 36cm Nigel Temple (1926-2003) was a highly accomplished artist, lecturer and writer who lived in Gloucestershire. He was a polymath whose interests spanned contemporary art, bookbinding, typography and architecture. The unique collection presented here, comprising his remaining studio works, conveys the full range of his intellectual and artistic interests. Temple exhibited internationally and counted important twentieth-century innovators such as Graham Sutherland amongst his friends and colleagues. While parallels may be drawn between his work and that of famous modernists such as Sutherland and John Piper, Temple nevertheless established a sophisticated and evocative style that was entirely his own. He was also a well-regarded architectural historian, writing numerous books on the architecture of John Nash and the vernacular buildings of his hometown of Farnham.While he worked across a range of different media, Temple largely specialised in an idiosyncratic form of collage that combined his twin passions of bookbinding and architecture. Temple generally used found materials, particularly discarded book bindings, to create artworks that are, at first glance, abstract and mysterious. Yet they gradually draw the viewer in with their witty titles and the evocatively distressed texture of their source materials. They often suggest personal memories and specific architectural sites, and are imbued with an uncanny sense of place. Chorley’s are delighted to bring Nigel Temple’s studio works to auction. For further information concerning the artist and his work, please see: https://nigeltemple.co.uk/ Framed and glazed. The artwork is in very good condition; any damage or wear is the result of the making process and the nature of the found materials involved.

Franz Ruzicka (Czech, contemporary): artist embellished canvas print, Nanna, Fine Art Trade Guild and further labels affixed verso, overall 158 x 45cm. Not available for in-house P&P

A contemporary French Art Nouveau inspired faux wrought and cast iron metal room divider / discretion dressing screen. The divider having four panels, each with a series of arabesques and ovals and pierced works. Measuring approx. 180cm x 150cm x 2cm

A contemporary Art Deo style lamp base. The lamp base being modelled in the form of a nude Deco dancer on back balancing shade on her foot. Measures approx 65cm tall.

NIKIAS SKAPINAKIS - 1931-2020, Untitled, oil on canvas, signed and dated 2006. Notes: it was part of Arte Lisboa - Contemporary Art Fair, from 8 to 13 November 2006, at FIL - Lisbon International Fair, according to the label pasted to the back., Dim. - 98 x 145 cm

REFERENCE BOOKS ON FURNITURE, INTERIORS, ART (qty)REFERENCE BOOKS ON FURNITURE, INTERIORS, ART, ETC - A collection of reference books including William Bliss Sanders' Examples of Carved Oak Woodwork in the Houses and Furniture of the 16th and 17th Centuries (London, 1883, folio, illustrations, cloth), J. Munro Bell's Chippendale, Sheraton and Hepplewhite Furniture Designs (London, 1900, 4to, illustrations, cloth), Thomas Arthur Strange's An Historical Guide to French Interiors, Furniture, Decoration, Woodwork & Allied Arts (London, [1900], illustrations, cloth), Fairbairn's Book of Crests of the Families of Great Britain and Ireland ... Fourth edition (London, [c.1900], 2 vols., 4to, illustrations, original cloth), Francis Lenygon's Decoration in England from 1660 to 1770 (London, 1920, folio, illustrations, cloth, dust-jacket, second impression), Arthur Stratton's The English Interior. A Review of the Decoration of English Homes from Tudor Times to the XIXth Century (London, [1920], folio, illustrations, original buckram-backed cloth gilt), M. Jourdain's English Decoration and Furniture of the Later XVIIIth Century (London, [1922], folio, illustrations, original cloth, dust-jacket, jacket tatty), A. D. Dubuisson's Richard Parkes Bonington. His Life and Work (London, 1924, 4to, illustrations, original buckram-backed boards, NO. 371 OF 1,000 COPIES), Algernon Tudor-Craig's Armorial Porcelain of the Eighteenth Century (London, 1925, 4to, illustrations, original cloth, dust-jacket, NO. 453 OF 1,000 COPIES), Arthur L. Humphreys' Old Decorative Maps and Charts (London, 1926, 4to, tipped-in coloured plates, original red buckram gilt, NO. 342 OF 1,500 COPIES), Flemish & Belgian Art 1300-1900 (London, 1927, folio, illustrations, some staining, original reverse calf, NO. 102 OF 1,000 COPIES), A Commemorative Catalogue of the Exhibition of Italian Art Held in the Galleries of the The Royal Academy ... Plates (London, 1931, ?plate vol. only, 4to, illustrations, original green buckram gilt) and Christopher Claxton Stevens & Stewart Whittington's 18th Century English Furniture. The Norman Adams Collection (London, 1983, 4to, illustrations, contemporary quarter tan morocco gilt, NO. 7 OF 50 COPIES SPECIALLY BOUND BY ZAEHNSDORF for Kenneth King). Sold as a collection of books, not subject to return. (qty)

After D. H. Chiparus; A contemporary Art Deco style brown patinated cast bronze figure of a Phoenician Dancer, base with cast signature and 'A7255', raised on a stepped marble and slate plinth, H 49 cm.

Julião Sarmento (1948-2021) Untitled ("For Joseph Beuys")Silkscreen, lithograph and photocopied paper laid on paperSigned, dated 87 and numbered 37/9071x52 cm (macha/image)80,5x60 cm (papel/sheet)This silkscreen is part of the portfolio "For Joseph Beuys" published by Bernd Klüser and Jörg Schellmann on the anniversary of Beuys' death. The portfolio includes works by 29 artists such as Andy Warhol, Keith Haring, Sol LeWitt, Christo, Tony Cragg, Donald Judd, among others.A work from the same edition at the State Contemporary Art Collection, on deposit at the Serralves Foundation, Porto.

PAUL MCCARTNEY - Autographed Edition of Paul McCartney: Paintings Book, Four Exhibition Art Prints, Staff Pass, Ticket, Invitation and Newspaper Clippings - A signed first edition of Paul McCartney: Paintings book and a collection of items relating to the first exhibition of McCartney's paintings held at the Arnolfini Centre of Contemporary Art in Bristol. This lot has come from a previous Arnolfini employee who attended the opening event held on September 28, 2000. The collection includes four exhibition posters (two of the same design), a staff pass, a ticket, a post-opening party invitation, and two newspaper clippings about the event. The book's title page is autographed in black ink by McCartney. The posters exhibit some minor marks, notably on the back from previous storage. Dimensions (book): 32.5 cm x 26.5 cm x 2 cm (12.75" x 10.5" x 0.75"); (each poster): 59.5 cm x 42 cm (23.25" x 16.5")The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.Estimate: £500 - 1,000 M Bidding for this lot will end on Friday, November 15th. The auction will begin at 3:00 PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 14th, Saturday, November 16th or Sunday, November 17th.

Oil on canvas. Dimensions: 103 x 84 cm. Large-format painting depicting a young woman from behind, highlighting her nude figure in an environment of abstract figures and vibrant colors. The work shows a contrast between the sensuality of the protagonist and the aggressiveness of the strokes and colors that surround her, creating an atmosphere of tension and movement. The technique used, characterized by a loose stroke and the application of intense colors, is typical of contemporary Cuban art.

Brosche/Anhänger "Modern Head"Weißmetall. Emaille-Plakette mit polychromer Pop Art Darstellung eines stilisierten Frauenkopfs. Rückseitig gestempelt: Faksimile-Signatur "R. Lichtenstein", "1968 Roy Lichtenstein for Multiples Inc.". 7,0 x 6,0 cm. Gewicht 57,49 g.Roy Lichtenstein, New York. Ausführung: Multiples Inc., New York, 1968.Die Brosche gibt es auch in einer Schwarz-Silberfarbenen Version.LiteraturVgl. Venet (Hrsg.), From Picasso to Jeff Koons, The Artist as Jeweler, Mailand/ London, 2011, S. 172. Vgl. auch ein Exemplar im Ausstellungskat. Jewelry as Sculpture as Jewelry, Institute of Contemporary Art, Boston 1973, Nr. 60.

Addison (Charles Greenstreet) Damascus and Palmyra: a journey to the East, 2 vol., first edition, 10 hand-coloured lithographs, bound without half-titles, scattered faint spotting, ex-University of Minnesota Library with usual labels and blind-stamp to titles, abrasion marks to final free endpapers where label removed, vol. 1 upper hinge strengthened, contemporary red calf, gilt, g.e., lacking spine labels, rubbed, slight bumping to corners and extremities, [Atabey 9], 8vo, 1838. *** "The plates are after drawings by William Thackeray, lithographed by G.E. Madeley... Thackeray, who had studied art in Paris, also visited the East and in 1846 produced, anonymously, 'Notes of a Journey from Cornhill to Cairo', with his own drawings." (Atabey)

Mouradja D'Ohsson (Ignace de) Tableau Général de l'Empire Othoman, 2 vol. bound as 3 (plates bound separately), half-titles to text vols only., engraved frontispiece and 137 plates on 70 sheets, of which 11 double-page and one loosely inserted, scattered spotting, occasional marginal pencil notes to text vols., ex-Phoenix Art Museum library with occasional faint ink-stamps, plate vol. bound without title, text vol. in contemporary half morocco, rebacked and recornered, a little rubbed, atlas vol. in modern half-calf, a little rubbed, slight bumping to corners and extremities, [Blackmer 1164], folio, Paris, 1787-90. *** "For many years d'Ohsson was secretary and first interpreter to the Swedish ambassador to Celsing at Constantinople. In 1782 he became chargé d'affaires. During all this time he had been collecting material for his monumental work which was intended to provide a clear and exact account of the Turkish civilization." (Blackmer)

Christo und Jeanne-Claude. Museum of Contemporary Art, Chicago. 1968-69. Museum packed. Box mit 36 Photo-Postkarten. Chicago, 1968. 11,5 x 14,5 cm. Lose in illustrierter Karton-Schachtel (Deckel leicht berieben).Auf dem Innendeckel von Christo signiert und datiert 1969. - Mit Photos von der Verhüllungsaktion von Shunk-Kender. - Innen sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

Twombly, Cy - - Villa, Emilio. Cy Twombly e una parafrasi per Cy Twombly di Emilio Villa. Mit 24 Abbildungen. Rom, Edizioni della Tartaruga, 1961. 6 Bl. 29 x 29 cm. Original-Karton (oberes Kapital mit Stauchspur, Rücken etwas gebräunt, Deckel etwas fingerfleckig).Eins von 500 nummerierten Exemplaren. - Sehr seltenes Werk über Cy Twombly. - Vorsätze mit Spuren einer alten Tesaklebung, papierbedingt leicht gebräunt. - Dabei: Derselbe. Cy Twombly. München, Galerie Friedrich & Dahlem, 1964. 6 S. 29,5 x 21 cm. - Frühe Ausstellungsbroschüre, die in Verbindung mit einer Ausstellung im November - Dezember 1964 veröffentlicht wurde. Mit einigen Abbildungen. - Sehr gut erhalten. - Dabei: Derselbe. 7 (davon 1 Doublette) meist frühe Ausstellungskataloge. Unterschiedliche Formate und Einbände. - Mit Katalogen zu den Ausstellungen: Galerie Änne Abels, Köln 1963; Palais de Beaux-ARts, Brüssel 1965; Stedelijk Museum, Amsterdam 1966; Milwaukee Art Center, 1968, Kunsthalle Bern 1973; Institute of Contemporary Art, Phildalephia 1975. - Insgesamt sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

Warhol, Andy - - Andy Warhol. Katalog zur Ausstellung im Institute of Contemporary Art, Boston 1966. Mit einigen Abbildungen. Massachusetts, 1966. Unpaginiert. 30 x 22 cm. Illustrierte Original-Broschur (Deckel leicht randknickspurig).Seltener Katalog mit einer Einführung von Alan Solomon, einer Beschreibung von Warhols Siebdrucktechnik und 35 Exponaten aus seiner zweiten großen Ausstellung im Institute of Contemporary Art in Boston vom 1. Oktober bis 6. November 1966. - Sehr gut erhalten. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

Warhol, Andy - - Andy Warhol. Katalog zur Ausstellung im Institute of Contemporary Art, University of Pennsylvania, 1965. Mit einigen Abbildungen. Pennsylvania, 1965. Unpaginiert. 18 x 14 cm. Farbig illustrierte Original-Halbleinwand (Hinterdeckel leicht fleckig und angestaubt).Sehr seltener Katalog zur ersten musealen Einzelausstellung von Andy Warhol. Der von Ben Birillo gestaltete Katalog mit einem Porträt von Warhol mit Sonnenbrille auf reflektierendem Silberpapier sowie Abbildungen seiner ausgestellten Werke. - Rücken etwas vom Block gelöst, sonst gutes Exemplar. - Provenienz: Sammlung Helmut Anton und Margot Krätz.

Hockney, David. Celia in an Armchair. Lithographie auf Vélin d'Arches. Signiert, datiert und nummeriert unten links mit Bleistift sowie rechts unten mit den Copyright- und Herausgeber-Trockenstempeln versehen. Exemplar: 44/74. Herausgegeben von Gemini G.E.L., Los Angles, 1980. Blattmaße: 101,6 x 121,9 cm.Gemini 918 - Museum of Contemporary Art Tokyo 239. - Verso an mehreren Punkten auf weiße Kartonunterlage montiert. - Entlang der Blattkanten minimal gebräunt und dort partiell schwach gestaucht, im äußersten Randbereich vereinzelt winzige Fleckchen, der Druck selbst in tadellosem Zustand. - Aufgrund der Größe muss der Transport vom Käufer selbst organisiert werden.

Hockney, David. First Detail, Snails Space, March 25th, 1995. Inkjet-Print auf Bütten. Signiert, datiert und nummeriert unterhalb der Darstellung mit Bleistift sowie links unten mit dem Trockenstempel des Herausgebers versehen. Exemplar: 41/45. Herausgegegben von Nash Editions, Los Angeles, 1995. Blattmaße: 88,5 x 109 cm.Museum of Contemporary Art Tokyo 356. - Seltener, farbfrischer Druck in ansprechendem Großformat. - Verso an mehreren Punkten auf weißer Kartonunterlage unter Passepartout montiert. - In sehr gutem Zustand. - Aufgrund der Größe muss der Transport vom Käufer selbst organisiert werden.

Hockney, David. Slow Rise. Lithographie und Siebdruck auf Vélin d'Arches. Signiert, datiert und nummeriert unterhalb der Darstellung mit Bleistift sowie dort mit den Copyright- und Herausgeber-Trockenstempeln versehen. Exemplar: 37/68. Herausgegeben und gedruckt von Gemini G.E.L., Los Angeles, 1993. Blattmaße: 63,7 x 77,5 cm.Gemini 1626 - Museum of Contemporary Art Tokyo 342. - Verso an mehreren Punkten auf weißer Kartonunterlage unter Passepartout montiert. - Die rechte, obere Blattecke leicht bestoßen, ansonsten tadellos. - Provenienz: Galerie Kaess-Weiss, Stuttgart.

Hockney, David. The Student. Radierung mit Kaltnadel und Aquatinta auf Vélin d'Arches aus "Hommage à Picasso". Signiert, datiert und nummeriert sowie bezeichnet "EA" unterhalb der Darstellung mit Bleistift. Exemplar: 3/15. Herausgegeben vom Propyläen Verlag, Berlin und der Panthéon-Presse, Rom, 1973. Plattenmaße: 57,5 x 44,3 cm. Blattmaße: 75,5 x 57 cm.Scottish Arts Council 153 - Museum of Contemporary Art Tokyo 143 . - Eins von nur 15 äußerst seltenen Künstlerexemplaren. Hockney (geb. 1937) verleiht in diesem Doppelbildnis der Bedeutung von Picassos Werk für seine eigene künstlerische Schaffenspraxis einen prägnanten Ausdruck. - Im äußersten unbedruckten Randbereich umlaufend etwas gebräunt, partiell minimal griffspurig.

Hockney, David. Two Peppers. Farbradierung auf Vélin d'Arches. Signiert, datiert und nummeriert unterhalb der Darstellung mit Bleistift sowie dort mit dem Copyright-Trockenstempel versehen. Exemplar: 98/100. Herausgegeben von Petersburg Press, London sowie gedruckt im Atelier Crommelynck, Paris, 1973. Plattenmaße: 24,7 x 39 cm. Blattmaße: 37,7 x 51,5 cm.Scottish Arts Council 156 - Museum of Contemporary Art Tokyo 140. - Entlang der Blattränder sehr schwach gebräunt, zwei winzige, unauffällige Löchlein oberhalb der Darstellung nahe des Plattenrandes, partiell minimal griffspurig.

Hockney, David. Views of Hotel Well II. Farblithographie auf strukturiertem Bütten von John Koller HMP aus der Serie "Moving Focus". Signiert, datiert und nummeriert unterhalb der Darstellung mit Bleistift sowie dort mit Trockenstempel des Herausgebers versehen. Exemplar: 58/75. Herausgegeben von Tyler Graphics Ltd., New York, 1985. Blattmaße: 63,5 x 81,3 cm. Tyler Graphics 281 - Museum of Contemporary Art Tokyo 273. - Verso an mehreren Punkten auf weißer Kartonunterlage montiert. - Entlang der Blattkanten leicht gewellt, ansonsten tadellos. - Provenienz: Knoedler Gallery, London.

FARLEY (John): 'The London Art of Cookery, and Housekeeper's Complete Assistant...': London, printed for J Scatcherd, 1792. 7th Edition. With frontispiece and 12 full page bills of fare (one with margin lower outer corner cropped), 5pp publishers advertisements at rear: contemporary sheep with 5 raised bands, worn and rubbed, upper board detached, 8vo. (1)

SOREL (Agathe & GASCOYNE, David): 'The Book of Sand...Le Livre du Sable..': Studio of Contemporary Art/Bi-lingual Editions, 2001: one of 15 copies with acetate overlays highlighted with gold leaf and signed artist's proof of one of the images: closed tear at foot of initial 4 leaves, original printed card covers, large 4to: with 6 others, modern art. (7)

WILLIAM AUGUSTUS HENDERSON: THE HOUSEKEEPER'S INSTRUCTOR; OR, UNIVERSAL FAMILY COOK BEING AN AMPLE AND CLEAR DISPLAY OF THE ART OF COOKERY IN ALL ITS VARIOUS BRANCHES... London, J Stratford, 1802. Eleventh edition. Upper and lower board internal gutter reinforced with contemporary linen with new endpapers