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534325 Los(e)/Seite
Los 72
Br Empire & C'wealth: Carribean islands stamp collection of Bermuda, Br Virgin Islands, Cayman Islands & Dominica in 4 stock-books, mostly QEII. Defin & commem incl sets to highest value, up to £1 and $10 seen. Mini-sheets, traffic light gutter pairs, blocks, strips, se-tenant, booklets, covers & varieties. 100s.
Los 2215
Two Japanese Meji period ginbari enamel posy vases: one decorated with cobalt blue sky body above seascape and central cartouche painted with a bird, with Mount Fuji and Sunshine to the left side, gilt metal mount, 9cm high; the other decorated with flowers on a two tone light blue body, approx 9.5cm high (2)
Los 1097
A large Royal Doulton Drake Jug, one side Depicting the Queen and other subjects before the ‘Golden Hind’ The other side Playing Bowls at Plymouth Hoe. The jug has a rope twist handle with the Lantern hanging from it. The spout has the inscription ‘Take my drum to England, hang et by the shore, strike et when your powders running low’. Full inscription on underside of base. Also, a Kingham and Richard Dennis Exhibition label on the base. Impressed signatures of Noke and Fenton. Jug No 2 of limited edition of 500Date: circa 1933 Size: 27.5cm highCondition: In good condition, typical light crazing & no restoration.
Los 402
A Junghans Max Bill manual wristwatch with a German hand-wound mechanical movement in a 34.5mm round steel case with a white dial and Arabic numerals and acrylic glass on a light brown Junghans strap.The watch appears to be in good working order, long term tests have not been performed and accuracy cannot be guaranteed a full service is advised upon purchase.Wear consistent with ageScratches to the acrylic glass
Los 435
A Ladys Rolex 31 DateJust, with a Swiss-made automatic movement in a steel case measuring 31mm with a light cream/pink Rolex graphic dial, and date at 3 O'clock with cyclops on an oyster steel bracelet with folding clasp. Model: 78240Serial: K883535Year: 2001No box, no papers.The watch appears to be in good working order, long term tests have not been performed and accuracy cannot be guaranteed a full service is advised upon purchase.Well worn with scratches on all surfaces
Los 126
A lot consisting of loose faceted gemstones, a pear-shaped mix-cut sapphire, with a deep greenish-blue body colour showing pleochroism, approximately measuring 5.4 x 3.5 mm; a square-shaped emerald-cut aquamarine with light blue body colour, approximately measuring 4.5 x 4.5 mm; twelve various sized oval precious opal cabochons, with a light background showing play-of-colour flashes. Total weight of items 3.6 grams.natural inclusions in aquamarine, some opal cabochons are crazed.
Los 139
Two Tanzanite loose gemstones, consisting of one oval-shaped brilliant-cut Tanzanite, with light bluish-purple body colour, measuring 8.5 x 6.9 mm; one cushion-shaped mixed-cut Tanzanite, with bright bluish-purple body colour, strongly dichroic, measuring 7.7 x 6.4 mm.Both stones are inclusion-free, the cushion-shaped Tanzanite has a deep pavilion.
Los 246
An opal ring with diamonds, comprises an oval cabochon of a precious opal with a light body colour, approximately measuring 10.7 x 9.1 mm, coronet set on a yellow mount, with white shoulders pavé set with single-cut diamonds, to a tapered D-section shank, hallmarked as 18ct, ring size Q, total weight of item 2.8 grams.
Los 26
An emerald and diamond three-tier dress ring, consisting of a central emerald-cut emerald, approximately measuring 9.5 x 7.8 mm, with a slightly bluish light chrome green body colour, corner claw set in a yellow mount, a total of 46 round brilliant diamonds pavé set on the two-tiered bi-coloured mount, with a further twelve round diamond set on the triangular shoulders, approximately total diamond weight 1.35ct, to a tapered rectangular profile white shank of 4.7 mm wide, stamped as '18k and 750', total weight of item 13.7 grams.Together with insurance replacement valuation for the ring, stating replacement value as £8,275, dated December 2016.According to the insurance valuation, it has stated that The AnchorCert Gemmological Laboratory has provided a verbal opinion on the emerald, which has moderate filling and has been coloured, with an origin opinion of Colombian. Also stated as18ct white and yellow gold on the papers.
Los 103
Christos Carras (Greek, born 1930)La naissance d'une nouvelle Aphrodite signé en grec et daté '1964' (en bas à gauche); daté (au revers)huile sur toile89 x 114cm (35 1/16 x 44 7/8in).signed in Greek and dated (lower left); dated (on the reverse)oil on canvasFootnotes:LittératureM. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298 (discussed), illustrations vol. III, fig. 543 (catalogued and illustrated).'In the work The Birth of a New Aphrodite from 1964, we see the real birth of a human figure, which appears in the middle of a flat surface and undefined forms. The organisation of the composition is based on the vertical and the accentuation of the centre. A vertical division creates two parts, the light part on the right and the dark part on the left.In the latter, the genesis of the new Aphrodite takes place. She is presented in a frontal position and gives the impression that the lines of her body are schematised in the swirl of wide or thick patches, well-defined or erased lines and light or dark shapes. Abstraction gives way to a figurative expressionism. It is a transitional work that announces the victory of the figure over the informal.'1 1 M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Université de Paris-Sorbonne, 1991, vol. II, p. 298.'Dans l'œuvre La naissance d'une nouvelle Aphrodite de 1964, nous assistons à une véritable naissance d'une figure humaine, qui apparait au milieu d'une surface plate et de formes indéfinies. L'organisation de la composition repose sur la verticale et l'accentuation du centre. Une division verticale crée deux parties, la partie claire à droite et la partie sombre à gauche.Dans cette dernière s'effectue la genèse de la nouvelle Aphrodite. Elle se présente dans une position frontale et donne l'impression que les lignes de son corps se schématisent dans le tourbillon des plages larges ou épaisses, des lignes bien définies ou effacées et des formes claires ou obscures. L'abstraction cède sa place à un expressionnisme figuratif. Il s'agit d'une œuvre de transition qui annonce la victoire de la figure sur l'informel.'1This 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
Los 21
Georgios Jakobides (Greek, 1852-1932)Nature morte aux coquillages signé en grec et daté '1917' (en bas à droite)huile sur toile40 x 54cm (15 3/4 x 21 1/4in).Peint en 1917.signed in Greek and dated (lower right)oil on canvasFootnotes:ExpositionAthens, Zappeion Hall, Greek Artists Association, Fourth Art Exhibition, April 5 - May 15, 1917, no. 56 (listed in the exhibition catalogue, p. 4).A small collection of beautiful seashells, diligently kept by the artist in a wooden display cabinet in his Athens studio along with awarded exhibition medals and other precious objects,1 posed for this charming still life of deft brushwork and sensitive colour. As noted by O. Mentzafou-Polyzou who prepared the artist's monograph, 'clearly a master of the rules of composition regarding object arrangement, Jakobides employed classic models in his approach to still life, as these were sanctioned by tradition. Yet, he also assigned a leading role to the light falling on them and sought through stark contrast and glowing colour the greater possible fidelity in their description. His main preoccupation was to highlight the tactile quality of objects, in tune with his search for a painting true to reality.'21 Shown in a c.1928 photograph illustrated in L. Iakovidi, Georgios Jakobides, from his Life and Art [in Greek], Diogenis editions, Athens 1984, p. 164. See also O. Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, p. 381.2 O. Mentzafou-Polyzou, 'Still Life and Flower Paintings, a Constant Occupation', in Iakovidis, a Retrospective, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2005, p. 263.For further information on this lot please visit Bonhams.com
Los 4
Constantinos Volanakis (Greek, 1837-1907)L'artiste regarde la mer signé en grec deux fois (en bas à gauche)huile sur toile68 x 96cm (26 3/4 x 37 13/16in).signed in Greek twice (lower left)oil on canvasFootnotes:ProvenanceKallimassioti family, Piraeus.Private collection, Athens.LittératureS. Lydakis, Constantinos Volanakis, Adam editions, Athens 1997, p. 111 (illustrated).The great spectacle of the open sea, the absolute stillness of the hour, the mellow warmth of the atmosphere and the overall poetry of the scene are contemplated by a genteel, solitary male figure with hat and walking cane, portrayed next to caiques hauled ashore and fishermen mending their nets. (Compare The Piraeus harbour from the royal pier, Municipal Gallery of Piraeus, and Coast of Phaleron, Collection of the Bank of Greece, Athens). Enchanted and transfixed, with his back to the viewer, the hatted gentleman has interrupted his coastal stroll to enjoy the view, indirectly inviting whoever stands in front of the work to imitate him by turning their gaze towards the sea. In this way, he acts as a 'host', an intermediary between the painted scene and the viewer, suggesting the way the picture should be admired as an object of beauty and value.As noted by Professor M. Vlachos, there are two conjectures regarding the identity of the solitary male figure portrayed in a number of Volanakis's costal and harbour views.1 According to the first one, he is possibly an affluent ship-owner or merchant, a resident of Piraeus and prominent member of the shipping community that contributed to the city's prosperity and from which Volanakis had received a number of commissions. The second interpretation is that the hatted man is the artist himself, a view that according to legendary collector Euripides Koutlides (1890-1974) has always been quite popular among collectors and connoisseurs. It should be noted that the Rückenfigur—figure seen from behind—harkens back to antiquity and it traverses European iconography, especially during the Renaissance, as an artist's self-portrait. It is also a recurrent theme featured in a variety of ways by many 19th c. artists, mainly Caspar David Friedrich and Gustave Courbet, whose work Volanakis was acquainted with.Here, the soft gradations of light and shade, the unity of effect, the sense of space and the loving delicacy with which Volanakis observed every nuance of the seascape and cloudscape are the artist's means of conveying a feeling of peace and expressing his view of the transience of life. 'His romantic soul seeks inner peace in the beauty of a dream world full of light and colour, where reverie is a kind of prayer,'2 inspiring the viewer to adopt a dreamlike attitude towards life. 1. See M. Vlachos, 'The Viewer as Intermediary in Volanakis' Paintings' in Constantinos Volanakis 1837-1907, Poet of the Sea, exh. cat., Hellenic Maritime Museum / Aikaterini Laskaridi Foundation, Athens 2009, p. 52. See also M. Vlachos, Volanakis, Peak publishing, Athens 2017, p. 124.2. S. Lydakis, Volanakis, a Pioneer [in Greek], Epta Imeres (Kathimerini), 22/02/1998, p. 14.For further information on this lot please visit Bonhams.com
Los 40
Panagiotis Tetsis (Greek, 1925-2016)La table orange signé en grec (en bas à droite)huile sur toile150.5 x 148cm (59 1/4 x 58 1/4in).signed in Greek (lower right)oil on canvasFootnotes:Nourished by the Greek light, Tetsis's famed tables captivate the viewer with a festive ritual of blazing colour and, at the same time, a deep feeling of calm and reverie. Disarmingly beautiful and irresistibly seductive, the work offered is easily recognizable as a representation of three tabletops under the sun but it can also be read as a nearly abstract sum total of rounded shapes. The cascading rhythm of the composition emphasizes the picture's still atmosphere and imparts a sense of monumentality and timelessness, while the large areas of undifferentiated colour enhance the effect of unity.Without sacrificing visual reality, the artist boldly treats colour as a structural element in building up form and deals with light as being assimilated into his painted surfaces. 'Tetsis muses over colour, loses himself in its depths, and seeks to reach beneath the skin of the world of appearances, beyond colour, chroma, a word which derives from the ancient Greek chros meaning skin. A sense of unity and balance, a discreet, subtle classicism lies beneath the romanticism of colour. His eye, well-trained and scholarly, yet innocent and lyrical, contemplates the world through a strong and resolute will for life.'1 1 H. Kambouridis, 'A Gymnasium for the Gaze' in P. Tetsis, Thalassa, exhibition catalogue, Basil & Elise Goulandris Foundation Museum of Contemporary Art, Andros, 2006, p. 66.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
Los 56
Takis (Panayiotis Vassilakis) (Greek, 1925-2019)Signal lumineux signé 'TAKIS' (sur la base)fer peint, aluminium, lumière aveuglante224 x 21cm (88 3/16 x 8 1/4in).Réalisée en 2000, œuvre originale.signed (on the base)painted iron, aluminum, flashing lightFootnotes:Cette œuvre est accompagnée d'un certificat d'authenticité, délivré par la Takis Foundation - Research Center for the Art and Sciences et signé par Takis.This work is accompanied by a certificate of authenticity by the Takis Foundation - Research Center for the Art and the Sciences, signed by Takis.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
Los 69
Chryssa (Vardea) (Greek, 1933-2013)Les portes de Times Square, New York signé et daté 'Chryssa/1965' (sur l'étiquette en bas à droite)néons, plexiglas114.3 x 94 x 71.2cm (45 x 37 x 28 1/16in).signed and dated (on label on the right side)neon sculpture with timer in plexiglass boxred, yellow, green and blueFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July, 1990, no. 30 (catalogued and illustrated in the exhibition catalogue).When Greek-born Chryssa first arrived in New York in 1954, she was immediately struck by the visual dynamics of this great urban environment. Times Square, a legendary NY landmark with fascinating signs, calligraphic letters, and flashing lights, seemed to her utterly beautiful and poetic, summoning recollections of her Greek heritage: 'In Times Square, the sky is like the gold of Byzantine mosaics or icons.'1 Responding to these age-old presences in contemporary American commercial symbols and guided by a European sense of style, Chryssa, the first artist working in America to use emitted electric light, produced neon sculptures with majestic forms and oscillating letter-like patterns. Here, tightly grouped in a repetitive sequence and encased in a smoky-grey Plexiglas container, the curved red, yellow, green and blue neon tubes heighten the abstract qualities of the calligraphic elements, capturing the romantic imagery and inherent poetry of the modern metropolis. 1 Chryssa: Urban Icons, exhibition catalogue, Albright-Knox Art Gallery, Buffalo, New York, 1982, p. 4.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
Los 8
Théodore Jacques Ralli (Greek, 1852-1909)Saints reliques signé des initiales 'T.R.' (en bas à droite); inscription 'Esquise pour mon tableau/ Saints Reliques/ Vendue en Amérique Ralli' (au revers)huile sur toile20 x 30cm (7 7/8 x 11 13/16in).signed with initials (lower right); inscribed (on the reverse)oil on canvasFootnotes:LittératureM. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, no. 75, p. 337, fn. 74 (mentioned), p. 351 (catalogued), p. 165 (illustrated).Painted by a 19th century master of prayer scenes, this captivating vignette of church genre and silent peasant piety evokes a noble sentiment of holy respect and deep-felt religiosity. Humility, veneration and meditation that no distraction seems able to dispel, endow the figures with a solemn grandeur that harmoniously match the evocative ambiance of the Orthodox church.Dressed in traditional rural costumes and moulded by a warm invading light, the two young Greek maidens venerating the holy relics1 strongly contrast with the dark interior lit only by overhanging oil lamps and flickering candles. In the dim light, an Orthodox priest is faintly portrayed on the extreme left, while the sacred images painted on the background wall loom as transcendental presences, enhancing the poetry of the scene. 1 Ralli kept in his studio possessions a human skull shown in a photograph of his Paris studio, c. mid-1880s. (See M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, pp. 32, 127.) Also compare the mother-of-pearl box featured in the artist's emblematic La captive sold by Bonhams (The Greek Sale, May 19, 2021).For further information on this lot please visit Bonhams.com
Los 192
Magenta Pink Triplet Quartz and Topaz Ring, the striking, magenta pink, oval cut, 10ct stone flanked by three marquise cut white topaz, set in a fan shape to each side, on the shoulders of the platinum vermeil and silver mount; the bright accents of the topaz flash light through the centre stone bringing out the different shades and tones from within; size L
Los 334
An 18th Century Bow figure blanc de chine study of "A nun seated reading", bearing old handwritten label to underside "The ... nun E.15 in catalogue Bow Porcelain the same model .... met with colours as in Victoria...." and "Stock Spring Antiques London C 1750-2", 15 cm high CONDITION REPORTS No signs of damage or repair under UV light. Appears basically sound though with some marking/discolouration to the ends of the foot and hand and firing crack to base - see images for further detail
Los 208
Angela Argent (20th Century)Still Life with Teacupartist's label (to reverse)oil on canvas22 x 29cm.The condition of the painting appears to be good - the canvas is sound with no damage and there is no paint loss. Perhaps it needs a light clean. The frame has some minor scuffs, most noticeably to the top edge.
Los 319
Mary Fedden (1915-2012)Garden View, 1993signed and dated (lower left)oil on canvas50 x 60cm. Provenance:Portland Gallery, London. Exhibited:Portland Gallery, London, Mary Fedden, July 2009, no. 45. Generally good, some crazing to the white paint to the lower section and right window light, frame has two bruises to left edge.
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534325 Los(e)/Seite