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19th Century British SchoolUnderwater View of Fish and a Cowrie Shell,reverse glass painting, oil on glass,26.5 x 23cms, in frame.

Horse oil painting by J McCowen, 66 cm x 50 cm, and pair of game bird in ornate frames

Jack Simcock, 1929 - 2012. British painter. Oil on board, Ref. 4268 "The Lodge" Signed and dated 1968. Born in Biddulph, Staffordshire, studied at Burslem School of Art. 28cm x 18.5cm. Presents well in original frame. Scratch to surface across main body of painting. Dimension in frame. 40cm x 29cm.

William B. Mitchell / Wilhelm Mitchell 1882. Oil on canvas. Signed to bottom right. Coastal scene with house with red tiled roof in the foreground with women collecting seaweed. In original gilt frame. 48cm x 33cm. A good clean example of a 19th century oil painting. Painting has had conservation work done at some point. Dimensions of frame. 65cm x 51cm.

After Michael Dahl (1659-1743) Swedish/British, Portrait of Lady Margaret Cavendish-Harley (1715-1785), Wife of William, 2nd Duke of Portland, as a child dressed as a shepherdess, oil on canvas, 154 x 122 cm, framed 171 x 140.5 cmLabelled on the reverse 'Portrait of the Lady Henrietta Cavendish Holles, daughter of the Earl of Oxford, (as a Shepherdess)' and attributed to Thomas Hudson.The original of this painting is known to have hung in the House Library of Welbeck Abbey, a country residence for the Dukes of Portland. An 1894 catalogue of paintings belonging to His Grace the Duke of Portland describes the painting as being signed and inscribed. Private collection, from the estate of a large Oxfordshire country house.Previously, the property of 'Mrs Harrison-Bradley' Signs of a previous T-shape tear above the sitter's hat, with large patch clearly evident on the reverse of the canvas. Under UV there are signs of over painting in the repaired area extending to the sitter's staff and towards the top right corner of the canvas. Some overpainting along the bottom edge.

After Sir Thomas Lawrence (1769 - 1830), Portrait of Miss Meyrick, co-heiress of Badorgan, Anglesey, unsigned, oil on canvas, 143 x 112 cm, framed 176 x 146.5 cm Private collection, from the estate of a large Oxfordshire country house.Label verso inscribed: Miss Jones SELBY-LOWNDES, 22 Church Lane, Aston Rowant, Oxford, Portrait of Miss Meyrick, co-heiress of Badorgan, Anglesey, N. Wales/ Original Portrait by Sir T. Lawrence circa 1790./ This painting is one of two copies made circa 1820 on the occasion of the marriage of two of her daughters (into the Selby-Lowndes family)./ Miss Meyrick married Mr Hartman, of Dutch Ancestry. Signs of some small areas overpainting throughout, especially in the hair and the back of the dress. The frame with some losses and loose parts of moulding.

Peter Monamy (London 1681-1749)Colliers lying in the Thames at Deptford and unloading their cargoes for the London market signed 'P: Monamy: Pinx' (lower left)oil on canvas68 x 136.8cm (26 3/4 x 53 7/8in).Footnotes:ProvenanceAnon. sale, Dreweatts, Berkshire, 15 April 2015, lot 401.Private collection, UK (purchased from the above).The highly unusual commercial subject of this work suggests a special commission for the owner of the large collier in the centre of the painting.For further information on this lot please visit Bonhams.com

Abraham Hulk (Dutch, 1813-1897)Fishing boats at dawn; Boats in an estuary on a breezy day, a pair both signed 'A.Hulk' (lower left)oil on canvaseach 30.5 x 45.4cm (12 x 17 7/8in). (2)Footnotes:ProvenanceWith Richard Green Fine Painting, London, stock no. SP 1708.Private collection, UK.For further information on this lot please visit Bonhams.com

Nicholas Matthew Condy (British, 1818-1851)The royal steam yacht Victoria and Albert (I) off Plymouth oil on board30.1 x 40.4cm (11 7/8 x 15 7/8in).Footnotes:ProvenanceWith The Royal Exchange Art Gallery, London.Private collection, UK.This painting depicts H.M.Y. Victoria and Albert at anchor in Barn Pool, Plymouth, with Mount Edgcumbe in the background. She was a twin-paddle steamer, launched 25 April 1843. She served as a royal yacht of the sovereign of the United Kingdom, owned and operated by the Royal Navy, and was the first of three royal yachts to be named Victoria and Albert as well as the first royal yacht to be steam powered. She was renamed Osborne after the launch of H.M.Y. Victoria and Albert on 16 January 1855, after which Her Majesty's yacht Osborne continued in service, conveying the Royal Family to their summer home, Osborne House, on the Isle of Wight.Queen Victoria and Prince Albert undertook their maiden voyage aboard the yacht on 28 August 1843 to visit the King of the French, returning to Brighton on 7 September. This painting depicts the evening of 21 August 1846 after the Royal Family returned to Plymouth from Osborne House. Storms and rough seas had forced the yacht to abort their arrival three times, as the Queen described in her journal, 'All did well till we came to the Needles, & the sea became rougher than it ever was, making us all very ill. [...] I longed to be back at our dear Osborne again!'.In this picture, throngs of adoring subjects wave from their boats as the monarch is rowed back to her yacht, having spent the day journeying along the River Tamar aboard the smaller H.M.Y. Fairy. In her journal entry written on this day, Queen Victoria describes this scene:'The evening was quite beautiful, the sun so bright & the sky & sea so blue. As we approached the 'Victoria & Albert', we were surrounded by myriads of boats & had to be rowed through them in our Barge. Remained on deck for a little while afterwards, & the evening was so beautiful'.Condy also painted a series of scenes depicting the Queen's 1843 journey, four of which were reproduced by Louis Haghe as lithographs. A similar work to this present picture is The Royal Yacht lying in Barn-Pool her Majesty returning from her visit to Mount Edgcumbe, lithographs of which are held in the collection of the National Maritime Museum, however this particular painting was not reproduced.For further information on this lot please visit Bonhams.com

James Harris of Swansea (British, 1810-1887)The barque Ethelbert hove to for the pilot which is alongside her off the Mumbles lighthouse indistinctly signed (lower left)oil on canvas36.2 x 61.6cm (14 1/4 x 24 1/4in).Footnotes:The ship in this painting is confirmed as the barque Ethelbert from the Marryat Code signal flags nos. 3641 which she is flying.Built by Fellows at Yarmouth, Isle of Wight in 1853, she was owned by her builder throughout her life and although she regarded Yarmouth as her 'home port', her regular route was always Swansea to South America. Registered at 313 tons gross, she measured 111 feet in length with a 22.6 foot beam and a 15.7 foot draught and was clearly a 'well found' vessel as she was rated A1 by Lloyd's Register. By 1867 however, her condition had begun to deteriorate and her Lloyd's rating had been suspended by 1870, after which she disappears from record. Since there is no record of her being sunk, it is probable that she was broken up following her gruelling career involving repeated voyages 'around the Horn'.She is shown hove-to off the Mumbles lighthouse with the pilot cutter alongside, ready for the pilot to take her into Swansea Docks. However, there is no sign of the so-called 'Fort' which was built in 1860 so there is no doubt the work predates that and it could be that this work was produced in 1853 to mark her completion/maiden voyage. The care with which the Signal flags have been executed was done for a reason and to commemorate her completion/maiden voyage seems entirely logical.She is probably carrying copper given that she will be unloading it in the industrial heartland of South Wales but, that said, it could just as easily be wheat, Chile's other principal export at this time.For further information on this lot please visit Bonhams.com

MICHALIS ECONOMOU (1888-1933)Chapelle avec des cyprès signé 'M.Economou' en bas à gauchehuile sur flanelle61 x 50cm (24 x 19 11/16in).Peint c. 1927.signed 'M.Economou' lower leftoil on flannel laid on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureA.Kouria, Michalis Economou, Adam editions, Athens 2001, no. 115, pp. 256-257 (catalogued), p. 165 (illustrated).Evocative flames of dark green flare from the earth against an animated sky, echoing Van Gogh's famous cypresses.¹ This mesmerizing work probably dates after 1926, the year Economou returned to Greece from France, and was most probably completed in 1927, when he had his second personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'² Critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis.³In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by art historian A. Kouria, who prepared the artist's monograph, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the pines and cypresses seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks.'⁴ 'The cypress tree, a favourite motif of Symbolist painting charged with Romantic overtones, appears in Economou's art as a symbol of his inner self and his strongly subjective response to external world stimuli; it becomes a vehicle of the feeling he wishes to communicate through his art.'⁵¹. Compare V. Van Gogh, Road with cypresses, 1890, Kröller-Müller Museum, Otterlo. Van Gogh was fascinated by cypresses as natural equivalents of architectural forms. He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. ². Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125.³. See Kouria, Michalis Economou, p. 125. ⁴. Ibid, pp. 108-113.⁵. Michalis Economou, The Alchemy of Painting, exhibition catalogue, E. Averoff Museum of Modern Greek Art, Metsovo - Evangelos Averoff-Tossizza Foundation, 2023, p. 155.For further information on this lot please visit Bonhams.com

JEAN ALTAMOURA (1852-1878)Nave disalberata trainata da rimorchiatore daté '1 Octobre 1874 Helsinger' en haut à gauche gouache et mine de plomb sur papier contrecollé sur carton 19 x 29 cm. (7 1/2 x 11 7/16in.)dated '1 Octobre 1874 Helsinger' upper leftgouache and graphite on paper laid on hardpaperFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Benaki Museum, Jean Altamouras, his Life and Works, March 31 - May 22, 2011 (illustrated in the exhibition catalogue, p. 224).LittératureG. Piemontese, Gli Altamura Ritrovati, Giovanni Ioannis Jean Altamura, Fondazione Banca del Monte edition, Foggia, 2009, p. 103 (discussed and illustrated).'A three-masted ship, perhaps a frigate towed by a steam tug. We do not know if it is a preparatory work for an oil painting, one of those that Altamura dedicated to the large ships of the Danish fleet. In this case too, the artist certainly manages to represent the boats in their naturalness, even when they are stricken by a storm. The contrast between sailing ship and steamship continues to be present.'¹¹. G. Piemontese, Gli Altamura Ritrovati, Giovanni Ioannis Jean Altamura, Fondazione Banca del Monte edition, Foggia, 2009, p. 103.For further information on this lot please visit Bonhams.com

CONSTANTINOS MALEAS (1879-1928)Vue de l'Acropole signé en grec en bas à gauchehuile sur carton 59,5 x 83 cm. (23 7/16 x 32 11/16in.)Peint c. 1918-1919.signed in Greek lower leftoil on cardFootnotes:ExpositionsAthens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly).Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly).Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus.Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments—the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. 'Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours—including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴—move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous.¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61.². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188.³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30.⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155.For further information on this lot please visit Bonhams.com

THEOFILOS HADJIMICHAEL (1871-1934)La maison de Athanassios Koutras à Varia, Lesvos signé, titré en grec et daté '1932'huile sur toile37 x 30.5cm (14 9/16 x 12in.)signed, titled in greek and dated '1932'oil on canvasFootnotes:ProvenanceD.E. Evangelidis collection until 1963.Acquired from the above by Aristidis Lappas and thence by decent to the previous owner.Bonhams London Greek Sale of 11 May 2004, lot 77.Acquired from the above sale by the present owner.ExpositionAthens, British Council, Theofilos, 2-31 May 1947, no 23.Athens Hellenic American Union, Theofilos, 7-26 February 1964, no 92.LittératureAngloelliniki Epitheorisi magazine, vol. III, no. 1, May 1947, no. 23, back cover (listed).T. Spiteris, 'Theofilos (Chadjimichail) Works', handwritten list, c. 1960s, T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, no. GR TITSpit 101102_11, p. 17 (catalogued).This graceful and seductive portrait of an architectural beauty that used to adorn the artist's native village of Vareia, illustrates the remarks of folk painting scholar G. Samourkas: 'Theofilos's Mytilene period, which lasted from around 1926 until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'¹ As inscribed by the artist at the top and bottom of his composition, this age-old pyrgos mansion in the village of Vareia was the residence of the late Athanassios Kottonas, and was no longer standing (probably destroyed by the devastating earthquakes that struck the island in 1867 and 1899). These characteristic Mytilene pyrgoi, are many-storeyed fortified country dwellings, free standing in farm fields or orchards and whose top storeys usually featured wooden projections—the so-called sachnisinia—on one or more sides. They were the summer residencies of wealthy inhabitants, and the older ones date from the last decades of the 18th century.² ¹. G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.². See I. Vostani-Koumba, Lesvos, Greek Traditional Architecture series, Melissa editions, Athens 1982, pp. 29-36.For further information on this lot please visit Bonhams.com

VALIAS SEMERTZIDIS (1911-1983)Skyros signé en grec et daté '1956' en bas à gauchehuile sur carton dur67 x 48 cm. (26 3/8 x 18 7/8in.)signed in Greek and dated '1956' lower leftoil on cardboardFootnotes:ExpositionsAthens, Parnassos Exhibition Hall, Semertzlidis Painting, April 25 - May 15, 1957 (possibly).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

NICHOLAOS GYSIS (1842-1901)Agriculteur de Tinos signé 'N. Gysis' en bas à gauchehuile sur panneau 41 x 31 cm. (16 1/8 x 12 3/16in.)signed 'N. Gysis' lower leftoil on panelFootnotes:ProvenanceSale No 237 of Neumeister, Munich, 11/12/1986. Private collection, Athens. Bonhams London Greek Sale of 13/12/2005, lot 43. Acquired from the above sale by the present owner.ExpositionsAthens, Pieridis Gallery, Greek Artists in Corporate Private Collections, April 8-19, 1987.LittératureN. Misirli, Gyzis, Adam editions, Athens 1995, pp. 368, no. 20 (catalogued), p. 62 (illustrated).This work of expressive power and incisive observation is a tribute to the artist's birthplace. In N. Misirli's account of the artist's oeuvre and systematic compilation of his works, it is the only painting bearing a title associated with the island of Tinos, his place of birth.¹Following a life-changing trip to Greece in 1872, his first after seven years in Germany, Gyzis returned to Munich in 1874 full of vibrant images and vivid impressions of his homeland. In Marcel Montandon's classic monograph on Gyzis, we read: 'Now starts the most fruitful period of the artist's genre painting; Gysis is in Munich only in body; his thoughts constantly return to the beauty of the Aegean Sea. His brush conveys powerful images of daily life in Athens, Smyrna and Tinos.'²Magnificent and psychologically acute, the portrait of the young islander shows no signs of idealisation, its unadorned beauty emanating from within, depending on the honesty of representation, genuineness of character and purity of form. Impeccably painted in warm, earthy colours highlighted by solid outlines and bold brushwork, the work captures the limpid, piercing gaze of the subject, impelling the viewer to delve beyond the surface and seek the inner world of the young Greek. The portrait's captivating immediacy and resilient allure is a testament to Gyzis' power of an imaginative transaction between the subject, the artist and the beholder.¹. N. Misirli, Gyzis [in Greek], Adam, Athens 1995.². M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, pp. 56-57.For further information on this lot please visit Bonhams.com

NIKOS ENGONOPOULOS (1907-1985)Paysage signé en grec et daté '66' en bas à droitehuile sur toile 32 x 23 cm. (12 5/8 x 9 1/16in.)Peint en 1966. signed in Greek and dated '66' lower rightoil on canvasFootnotes:LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated).A remarkable recent find, Paysage showcases the painter's life-long fascination with Greek architecture. As noted by his first wife, artist Nelli Andrikipoulou, 'these works were such accurate representations and, at the same time, personal interpretations of reality that [the architect] Dimitris Pikionis justly called them 'psychographs of buildings'. They truthfully reflect Engonopoulos's inner beauty and graciousness.'¹ Captured in fiery red and diligently rendered, the stately mansion—a characteristic example of late Athenian neoclassicism²—dominates the left part of the painting, while on the right middleground an enigmatic gate-like structure with a yellow curtain thrown over it conveys a pronounced sense of theatricality. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.³ ¹. N. Andrikopoulou, 'Unknown Aspects in the Life and Work of Nikos Engonopoulos' [in Greek], Lexi magazine, no.77, September 1988, p. 654.². See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vol. 1, Athens 2002, p. 79.³. P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.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

SARANTIS KARAVOUZIS (1938-2011)Intérieur avec une porte entrouverte signé 'S. KARAVOUSIS PARIS' sur le châssis au revershuile sur toile162 x 97cm. (63 3/4 x 38 3/16in.)Peint en 1998.signed 'S. KARAVOUSIS PARIS' on the frame on the reverseoil on canvasFootnotes:ExpositionsAndros, Ploes XIV, Petros and Marika Kydonieos Foundation, Dimitris Yeros - Sarantis Karavousis, Wavelength, July 19 - September 28, 2008, no 14 (catalogued, p. 124, and illustrated in the exhibition catalogue).Thessaloniki, Municipal Gallery of Thessaloniki, Dimitria XLIV, Sarantis Karavousis, Painting, September 9-30, 2009, no. 14 (catalogued and illustrated in the exhibition catalogue).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 JAKOBIDES (1852-1932)Petite fille lisant signé 'G. JAKOBIDES' en haut à gauche huile sur toile 52,5 x 39,5 cm. (20 11/16 x 15 9/16in.)Peint c. 1882. signed 'G. JAKOBIDES' upper leftoil on canvasFootnotes:ProvenanceBonhams London, The Greek Sale, May 20, 2008, lot 22. Acquired from the above sale by the present owner.ExpositionsMunich, Münchener Kunstverein exhibition, 1882.LittératureThe artist's notebook 1878-1919, no. 7 (mentioned) [Lesendes Mädchen, 1882].Neueste Nashrichten newspaper, August 31, 1882 (discussed).Bayerishher Kourier newspaper, September 2, 1882 (discussed).Deltion tis Estias magazine, no. 298, September 12, 1882 (discussed).S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 239 (listed).Dictionary of Greek Artists, vol. 4, Melissa editions, Athens 1976, p. 140 (listed).O. Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, no. 52 (catalogued, p. 337, discussed, p. 72, and illustrated, p. 71).Dictionary of Greek Artists, vol. 2, Melissa editions, Athens 1998, p. 36 (mentioned).Georgios Jakobides Retrospective, exhibition catalogue, National Gallery and Alexandros Soutzos Museum, Athens 2005, p. 145 (mentioned), p. 146 (discussed), p. 156, fig. VIII (illustrated). H. Iakovidou, A. Iakovidou, Inside the Picture, Adam editions, Athens 2005, p. 25 (illustrated).A great example of Jakobides's finest work, Petite fille lisant is a museum-quality jewel by this quintessential Greek painter of young children. As noted by the late Director of the National Gallery in Athens M. Lambraki-Plaka, 'Jakobides was one of the most sensitive and at the same time perceptive painters who delved into childhood's psyche. This insightful psychologist and keen observer of human nature was also an unsurpassed draughtsman. This rare combination enabled him to render what he saw and felt with unmatched verisimilitude.'¹ In her monograph on the artist, art historian O. Mentzafou-Polyzou discusses the work at length: 'In 1882, Jakobides exhibited Girl reading at the Munich Art Society, receiving favourable comments for both its subject and style. A young girl holds a newspaper with utter seriousness and pretends to read in imitation of adult behaviour, directing her gaze through a pair of eyeglasses perched on the tip of her nose. The painter lends the figure a commanding presence through meticulous observation and detailed description. The fine handling of detail in the girl's garments and the concentration of light and shadow effects on her face and hands endow the picture with a sense of genuineness and lively presence.''Without abandoning the narrative, humoristic aspect of kindermalerei, in this work Jakobides closely adheres to realist principles in the vein of W. Leibl's² truthful figuration, a kinship promptly noted by contemporary critics: 'The painting Petite fille lisant exhibited by Jakobides is very attractive and beautiful. The harmonious unity of effect and the excellent draughtsmanship are reminiscent of the subject matter and style of the famed Leibl. The girl is completely absorbed in reading; the viewer forms the impression that, though silent, her glowing lips are vaguely moving. The overall handling is impeccable. Such naturalness should appeal to everybody.'³ And it is not just the supreme clarity of the rendered figure that recalls 16th and 17th Flemish art and can be related to the work of Leibl, nor the painstaking realism in rendering detail, achieved through the concentrated lighting of specific areas, that bring out the work's superior pictorial quality. It is mainly the isolation and presentation of a simple everyday story which stands on its own right without having to depend on complementary themes.'⁴ For Jakobides, childhood hardly ever represented an idealised world. The artist has been recognised as a leading painter of children precisely because he managed to look beyond beautified sentimental stereotypes and capture a wide variety of childhood expressions, from the most contorted, as in Combing Out, to the most subtle and evocative, as in Petite fille lisant.Here, set against a neutral, monochromatic background, rooted in ancient Greek relief sculpture and Byzantine icon painting, which underscores and highlights the young sitter's elegance and simple grandeur, Jakobides produced, with astonishing wealth of detail and tender minuteness of touch, a masterful rendition of the child's expression and facial characteristics. His greatness is reflected in his ability to observe and record not just an expression, not even the slightest change in expression, but the hint of an expression, one that has not yet become but is on the verge of becoming apparent. Without resorting to intense gesticulations, as in the various versions of the Bad Grandson, the artist captured on canvas the essence of childhood's incessant energy lurking under a seemingly cool surface and the subtle juxtapositions between the seriousness of learning and the instinctive tendency towards play. ¹. M. Lambraki-Plaka, 'Georgios Jakobides, the Noble of the Munich School' [in Greek] in Georgios Jakobides Retrospective, exhibition catalogue, National Gallery and Alexandros Soutzos Museum, Athens 2005, p. 12.². Wilhelm Leibl (1844-1900) was a late 19th century German realist painter who exerted a great influence on the School of Munich.³. Deltion tis Estias magazine, no. 298, September 12, 1882, p. 2.⁴. O. Mentzafou-Polyzou, Jakobides [in Greek], Adam editions, Athens 1999, p. 72. See also Mentzafou-Polyzou, 'Jakobides, the Painter of Children' [in Greek] in Georgios Jakobides Retrospective, p. 146.For further information on this lot please visit Bonhams.com

GIOVANNI ANDREA (IL MASTELLETTA) DONDUCCI (ITALIAN 1575-1655) THE TRIUMPH OF DAVID Oil on canvas 64 x 51cm (25 x 20 in.)Provenance: The collection of Paul Ganz, New York Sale, Sotheby's, New York, Important Old Masters, Including European Works of Art, where purchased by Count Manfredi della Gherardesca, 28 January 2010, lot 183Born in Bologna and having begun his artistic training in the Caracci's Academy, Mastelletta developed a highly individualist style that radically differed from his teachers. Building on the stylistic traits of Parmigianino combined with the influence of the 'northern' artists in Rome such as Pieter Lastman, Hendrick Goudt, and Paul Brill, Mastelletta created visionary and dream-like landscapes populated by elongated and elegant figures. The art historian Maurizio Calvesi described him as a 'poet, fragile visionary, fanciful, timid and ardent', a brief description which perfectly renders his uniqueness. The subject and stylistic traits of this painting have much in common with the same themed painting held at the Palazzo Doria, in Rome. It is possible that this work constitutes a modello for the bigger painting, which eventually diverged from its original idea. Condition Report: The canvas has been lined and cleaned, although there is still some surface dirt. Light craquelure throughout. Stretcher marks visible. Rubbing and abrasions throughout. There is a diagonal line of paint shrinkage running just above the front female figure's head (approx. 10cm). Inspection under UV light reveals scattered retouching throughout, and an area of more concentrated retouching at the lower centre by the hilt of the sword, possibly the result of a previous repair.Condition Report Disclaimer

GLYN PHILPOT (BRITISH 1884-1937) GERALD HEARD (1889-1971), HEAD STUDY Oil on canvas-board 46.5 x 31.5cm (18¼ x 12¼ in.)Provenance: The Rowley Gallery Ltd., London Eliot Hodgkin Private Collection, London, where purchased by Count Manfredi della Gherardesca Exhibited:London, Charles Cholmondeley, Romantic & Symbolist Painting & Drawing, 1987, cat. no. 1 Gerald Heard was a friend of Aldous Huxley, W. H. Auden and of Christopher Isherwood who dedicated his novel 'A Meeting by the River' to Heard. He was a follower of the Vedanta movement and wrote a book 'Pain, Sex and Time'.  Condition Report: There are four small protrusions to the the board, two along the upper edge, one to the lower right quadrant and another three-quarters of the way down the left hand edge. Ultraviolet light reveals scattered retouching and infilling to the background, edges and corners, including to the aforementioned protrusions. The paint surface has had a light clean and overall the work is in good condition. Condition Report Disclaimer

JEAN-JACQUES HENNER (1829-1905) A profile portrait of Dorothy Tennant head and shoulders, signed and dated 1880, oil on panel, 26.5cm x 21cmProvenance: The Estate of Henry Morton Stanley (1841-1904), thence by descent.Note: This work dates to the period in which Dorothy Tennant studied painting under Henner in Paris following her graduation from the Slade.

HENRY LEJEUNE (1820-1904) 'Mischief' children at the riverbank, monogrammed and dated 1878 lower left, oil on canvas, 25cm x 30cm To be sold with a Christmas card featuring a reproduction of the painting offered here.Provenance: The Collection of Sir Harry and Lady Newton and thence by descent.

THOMAS CHURCHYARD (1798-1865) On the River Yareunsigned, oil painting on card panel, JS Maas & Co label verso, 12.5cm x 19cm

ALEXANDER MARK ROSSI (1840-1916) A genre painting, depicting a gentleman in an interiorsigned lower right, oil on canvas laid on board, 60cm x 44cm

JAMES SEYMOUR (1702-1752) and Studio An elegant lady and gentleman hare coursing in an extensive landscape, oil on canvas, 84cm x 127cm, in a contemporary giltwood and gesso frameProvenance: The Troyte-Bullock family and thence by descent. Recorded in an inventory of the contents of North Coker House, Somerset, in 1920.Literature: James Seymour by Richard Willis, published 2022, page 295, catalogue number 130b.Note: Another version of this composition is illustrated in "Game and the English Landscape", by Vandervell & Coles, published 1980. This particular painting is understood to be in a private collection in Hampshire. It is highly likely that the central figure in the painting is HRH Princess Amelia, known as Emily, the second daughter of George II, who hunted regularly and was by all accounts "quite a tearaway". The same lady, in her distinctive gold embroidered hunting outfit, appears in at least five other oils by Seymour.  Princess Amelia was appointed Ranger of Richmond Park and got herself into all sorts of bother by trying to exclude the public, a battle which she eventually lost in the courts. It is plausible that this oil was a celebratory commission from her, or that the impecunious Seymour was acting speculatively.We are grateful to Richard Mills, who has proposed a date of circa 1750 for the present work. He has further suggested that the studio assistant was none other than Thomas Spencer, who is recorded as working with Seymour in the 1740's and supposedly took on unfinished work after June 1752.

19TH CENTURY ENGLISH SCHOOL “Sir Basil Fforbes-Melville KCMG - CBE British High Commission Malta”, portrait study of a gentleman in black coat, white shirt and black stock reading a newspaper, half length, seated, oil on canvas, unsigned 91.5 cm x 72 cm CONDITION REPORTS Overall condition appears sound but some darkening to the varnish over the paint work giving the sitter a grubby looking face. There are several areas of surface scratching which may just be to the varnish. Under UV light there is a horizontal section of re-painting visible to the left hand side of the head and some minor small areas just above the forehead and down the left hand side of the cheek. The white cravat has a little re-painting to the top edge and there is an area or two just above the hand and to the right hand side by the shoulder / arm. There are two larger areas of re-painting bottom left and middle right. See images for further detail. Verso the piece has clearly been re-lined and there is a patch to the base. Again, see images. The later frame appears basically sound.

ATTRIBUTED TO GEORGE FRIEDRICH MAYER (German 1735-79) "Colonel John Stepney Cowell " ,Gentleman in military uniform of the Coldstream guards with medals, a portrait study, head and shoulders, oil on canvas, unsigned 73.5 cm x 60 cm CONDITION REPORTS Overall condition of the painting appears good though there are signs of scrach marking down the right hand side of the canvas and small areas of surface dirt / scratching. See images for detail. Under UV light there is much re-painting to the edges of the canvas and further various re-painting to the edge of the hair line and face of the sitter and to the clothing. See images for further detail. Verso the piece has clearly been re-lined at the same time as the restoration and bears old lot number "Bonhams 9-14813". Frame, whilst basically sound, has areas of damage and loss and flaking to the surface gilding throughout. See images for further detail.

John Cotgrove. A large gilt framed oil on canvas of the battle cruiser HMS Hood in combat with the battleship Bismark. Frame size 64cm x 99cm. Prov: the painting was comissioned in 1988 by William Goronwy Poole, a merchant navy officer. Artist John Cotgrove was a former fleet air arm pilot and Korean war veteran.

ARR Bernard Farmer (1919-2002) Abstract in Blue and Grey, signed and dated '68 verso, oil on canvas, 76 x 98 cmCondition:The painting is an oil on canvas, unframed. The canvas has a small dent in the top left corner in the corner join of the stretcher and there is a small dent to the lower left too. The canvas otherwise appears fine, although there is some slight loss of tension. The paint surface appears stable and well preserved. The painting would benefit from cleaning; there is dirt and staining present - predominantly around the edges - from storage and handling. There is some mould present to the verso on the stretcher and back of canvas where the stretcher meets.

ARR Janet Ledger (b.1931) Sunset over East London, signed lower left, oil on board, 11 x 15 cm, frame 20 x 24 cm Provenance: Deceased estate, purchased from Century Galleries in 1979Condition:The painting is an oil on board, framed without glazing. The paint appears stable and well preserved, no obvious paint loss or deterioration. There is some surface dust and surface level accretions. Some general wear and tear to the frame including two chips to the top edge.

ARR Evelyn Gibbs (1905-1991) Evening la Cadiue, abstract landscape, initialled lower left, oil on canvas, 45.5 x 60 cm, frame 65 x 80 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 22/02/2011 - lot 141. Label on frame for Henbury Secondary Modern School, Church LangtonCondition:The painting is an oil on canvas, framed without glazing. The canvas appears in generally good condition - no obvious tears/holes or losses. The paint condition appears well preserved and stable, no obvious losses or deterioration. The frame has some general wear and tear. Some dust

20th Century large Abstract Composition, oil on canvas, 205 x 120 cm (A/F) Carmela Uranga (Argentinian b.1968) Abstract Seascape, signed verso, oil on canvas, 56 x 72 cm (A/F) (2)Condition:Both paintings have been stored in a damp environment and have been subjected to mould growth which has also penetrated the stretchers. The large work has tearing and damage to the lower left, there are abrasions with paint loss in numerous places and it would benefit from a good clean, there is also a previous large repaired tear to the upper right which measures 17 cm The Uranga work has also been badly affected by mould and damp, there is signifcant tearing to the upper-centre right edge and the whole painting requires cleaning.

ARR Bernard Farmer (1919-2002) Abstract in Yellow, Grey and Black, signed and dated '68 verso, oil on canvas, 92 x 102 cmCondition:The painting is an oil on canvas, unframed. The canvas appears generally good - no obvious holes or tears although there is some slight loss of tension. The paint surface appears stable and well preserved. The painting would benefit from cleaning; there is dirt and staining present - predominantly around the edges - from storage and handling.

ARR Gillian Ayres CBE RA (1930-2018) Abstract Composition with Circular Forms in Brown and Mauve, signed and dated '61 lower left, oil on paper, 76.5 x 51 cm (SH) Notes: There is a photograph of Gillian at one of her exhibitions, with what appears to be this painting hanging on the wall behind her. Provenance: private collection, purchased from The Molton Gallery, London - label presentCondition:The painting is a work on paper, the original frame is still present - without glazing. There are stains to the four corners from having been stuck down to the frame - there is a resultant hole to the top right corner. There is a large tear through the middle of the sheet- measuring 32 cm- which has been repaired with selotape to the reverse. The top right corner has some small tears to the edges with loss. The top left area of the lower right swirl has some damage (see image) and there are some further holes with loss to the lower right. There is a tear to the centre-edge and creases visible to the front lower left corner. The frame is missing the glazing- the picture is no longer stuck down within the frame. The frame has wear and tear but also mould visible to the front and back from being stored in a cellar. Further images are uploaded to the catalogue.

ARR Janet Ledger (b.1931) Cooling Towers at Coalbrookdale, signed lower left, oil on board, 12 x 15 cm, frame 20.5 x 24 cm Provenance: deceased estate, purchased Century Galleries 1978Condition:The painting is an oil on board, framed without glazing. The board appears well preserved, no obvious faults. The paint surface appears stable- no obvious paint loss or deterioration. There is some surface dust/dirt visible. General wear and tear to the frame.

A large modern oil on canvas painting by local artist Norman A. Olley of a nude seated woman, titled Golden Girl. Frame dimensions 88x132cm Postage category D- NO RESERVE

A collection of pictures including an oil on canvas portrait, a portrait of Queen Elizabeth the second by Petro Annegonia print and a oil on canvas abstract painting . This lot cannot be posted

A large framed oil painting study of a French street scene. View of a Paris street scene Indistinctly signed 130x70cm. NO RESERVE

A David Morgan oil on canvas landscape painting. 107cm x 61cm.

A framed oil painting on canvas study of a fast running river with mountains beyond unsigned and unattributed 96x78cm. NO RESERVE

Two limited edition continental prints depicting horses and elephants, each 21cm x 28cm, together with an antique colour print depicting a building on fire and an oil painting depicting a farm steading. (4)

Eleanor Fein, oil on canvas, ' Jungle Monkey Peering Out ', signed, 30 x 30cm, in an ebonised frameSome minor scuffs to frame but would clean up. Painting in good condition, no repairs or damage

ENGLISH SCHOOL (19TH CENTURY)Nelson wounded at Santa Cruz de Tenerife, 22nd July 1797Oil on copper6 x 5in. (15 x 13cm.)This incident, during which Nelson lost his right arm, is most commonly associated with the famous painting by Richard Westall hanging at Greenwich, the origin of the graphic included here has yet to be identified.

JAMES EDWARD BUTTERSWORTH (BRITISH, 1817-1894)Cutter yachts of the Royal Thames Yacht Club and the Royal Yacht Squadron competing in the SolentSigned 'J.E. Buttersworth' (lower right)Oil on canvas21½ x 29in. (54.5 x 73.5cm).painting has been relined, heavy retouching throughout

George Knapton (1698-1778)Portrait of Miss Annabella Medley (1718-1758)elder daughter of Thomas Medley Esq.half-length, in a white satin dressa feigned ovalsigned and dated lower left 'G Knapton/ pxt. 1751'oil on canvas75cm x 61cm with Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851); with The Hon. Henry Berkeley Portman (1860-1923), later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) by 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962); thence by family descent. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, p. 22, no. 17, as at Buxted Park, in the 'Hall, East Side'. The painting has been restored and relined. Picture surface is stable. The painting is in good condition, with few visible issues, aside from some light craquelure.

Allan Ramsay (1713-1784)Portrait of Edward Medley Esq. of Conyborough (1719-1751)half-length, in a brown coata feigned ovalsigned and dated lower right 'A Ramsay 1742'oil on canvas74.5cm x 61cm with Charles Cecil Cope Jenkinson, 3rd Earl of Liverpool (1784-1851); with The Hon. Henry Berkeley Portman (1860-1923), later 3rd Viscount Portman; with Emma, Viscountess Portman (1862-1929) by 1926; with her daughter Lady Moyra Dawson-Damer (1897-1962); thence by family descent. Mentioned in Lord Hawkesbury's Catalogues of Portraits at Compton Place and at Buxted Park, in Sussex, 1903, pp. 21-22, no. 14, at Buxted Park, as in the 'Hall, West Side'.Further bibliography:Smart (Alastair) and Ingamells (John), Allan Ramsay: A Complete Catalogue of his Paintings, New Haven and London: Yale University Press, 1999, p.158, no. 363, fig. 108. The painting has been restored and relined. The painting bears some condition issues, including craquelure throughout and some unevenness to the picture surface. This includes many shining areas indicating resoration, as well as some bituminous areas, as illustrated in the images that accompany this condition report.

Oil painting on canvas of sailing ship by J.S. Waide '79, rip in canvas. Image 25.5" x 17.5", frame 31.5" x 23" and oileograph of warships, image 10" x 7", frame 15" x 11"

Oil painting on canvas of monks in kitchen, signed A.L. Image 10" x 7.5", frame 17" x 15"

Oil painting on canvas of river scene with boats by James Derbar. Image 35.5" x 23.5", frame 45" x 33"

Oil painting on board of church and town scene by V. Berzins, image 18" x 24", frame 21.5" x 27.5"

Oil painting on canvas of seascape by S. Rossi, 27.5" x 19.5", unframed

Oil painting on board by David R. Anderson 'The Old Bridge, Ilkley', image 23.5" x 19.5", frame 26.5" x 22.5"

Oil painting on board of landscape by V. Berzins, image 18" x 23.5", frame 19.5" x 25"

Oil painting on canvas of trees signed V. Berzins, image 29.5" x 21", frame 34" x 25.5"

Oil painting on board by V. Berzins 'White Wells, Ilkley Moor', image 18" x 13", frame 22" x 17.5"

Oil painting on canvas 'January Heathland 1970' by John Hitchens, with receipt from Ash Barn, Winchester Rd, Stroud, Hampshire.image 41" x 18", frame 45" x 22"

Oil painting on board of Grassington village by Chris Carlisle, image 26" x 20.5", frame 33.5" x 27.5"

Oil painting on canvas of landscape with cottage and figure, unsigned. Image 17.5" x 11.5", frame 21" x 15"

Oil painting on canvas of woman in doorway, monogrammed signature, image 23.5" x 35.5", frame 33.5" x 45.5"