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Lot 27
Pablo Picasso (1881-1973)Femme, 1955 stamped Madoura Plein Feu/Edition Picasso (underneath)white earthenware ceramic pitcher painted in coloursHeight 33.6cm (13 1/4in).Conceived in 1955 and executed in an edition of 100Footnotes:ProvenanceChristie's, Impressionist & Modern Art Sale, London, 27 November 2005, Lot 147.Acquired from the above sale by the present owner.LiteratureAlain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Vallauris, 1988 (no. 297)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
Lot 40
Pablo Picasso (1881-1973)Petit Cheval no.61, 1963 marked and numbered n° 61 / Madoura / 62/150 / Edition Picasso (underneath)white earthenware ceramic plate painted in colours, partially glazedDiameter 25.6cm (10 1/8in).Conceived in 1963 and executed in a numbered edition of 150Footnotes:ProvenanceChristie's, Impressionist & Modern Art Sale, London, 27 November 2005, Lot 145.LiteratureAlain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Vallauris, 1988 (no. 470)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
Lot 44
Pablo Picasso (1881-1973)Homme avec son cheval et femme à la fenêtre, circa 1963 signed in red crayonlinocut rincé printed in white with India ink, on Arches wove paper27 x 21.1cm (10 5/8 x 8 5/16in).This work is one of only three épreuves rincées, printed by the artistFootnotes:ProvenanceGalerie Louise Leiris, Paris.Galerie Beyeler, Basel.Goldman's art Gallery, Haifa, Israel.Acquired from the above by the present owner.LiteratureGeiser & Baer, Picasso Peintre-graveur, Catalogue raisonné de l'oeuvre gravé, Volume V, 1959-1965, Berne, 1989 (B.1352)Picasso was 78 years old when he took up the technique of linocut. He had permanently moved to the South of France, dividing his time between La Californie in Cannes and the newly bought Château de Vauvenargues in Aix-en-Provence. He had met in Vallauris a local younger printer named Hidalgo Arnéra with whom he started doing poster linocuts and would continue to experiment in this new exciting technique. Picasso made approximately 150 linocuts, though is a small part of his output as a printmaker, he produced some of his most accomplished compositions by this method in a brief burst of activity from 1958-1963.Before Picasso abandoned the linocut process in 1963 he produced a group of prints which has come to be known as épreuves rincées (rinsed proofs). They were made by printing the linoblock in creamy white ink, then brushing the printed impression with India ink. Once this had dried, he would then rinse the print with water. Where the ink sat on top of the printed surface it was washed away, while in the places where the paper was exposed the ink penetrated and was absorbed by the sheet. Each impression is unique as the process of applying the brushed ink and rinsing creates different effects in each the image.Baer records the existence of only three proofs signed by the artist. All are in private collections.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
Lot 53
A group of six Picasso art books including Las Meninas Y La Vida by Jamie Sabartes, copy number 960/1600, Picasso Suite Vollard by Hans Bollinger, copy number 155/540, La Guerre et La Paix by Claude Roy, A Pablo Picasso by Paul Eluard, Les Enfant & les Toros de Vallauris by Jean Marcenac, Dessins de Picasso by Christian Zervos 37.5 x 27.2cm (14 3/4 x 10 11/16in).(and smaller) (6)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 54
Cecil Beaton (1904-1980)Pablo Picasso et Cecil Beaton, 1965 inscribed 'pour Cecil Beaton. Ami Picasso 9.6.65.' in red and blue crayongelatin silver print29.7 x 23.5cm (11 11/16 x 9 1/4in).Footnotes:Throughout his career, spanning more than half a century, Cecil Beaton managed to photograph and meet some of the art world's biggest figures, from Salvador Dali and Gertrude Stein to Jean Cocteau and Pablo Picasso. Beaton had the ability to capture his famous subjects in intimate settings, whilst chronicling the social scenes and happenings of the time. When he met Picasso, despite the constant flow of visitors to his Paris apartment, Beaton was able to photograph the artist alone in various rooms. The current lot shows the close bond between the two men, as Beaton remarked of Picasso when they first met, 'he was as pleased to see me as if I had been a close friend'.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
Lot 55
Cecil Beaton (British, 1904-1980)Picasso in Profile signed 'BEATON' (lower right)pen and ink on paper30 x 23.5cm (11 13/16 x 9 1/4in).Executed in 1946Footnotes:ProvenanceWith Michael Parkin Fine Art Ltd, London, where acquired by the present owner February 1983Private Collection, U.K.ExhibitedLondon, Michael Parkin Fine Art Ltd, Cecil Beaton 1904-1980, Memorial Exhibition, 19 January-18 February 1983, no. 46LiteratureC. Beaton, The Glass of Fashion, Weidenfeld and Nicolson, 1954, illustrated p.177This 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
Lot 110
Anne Davidson Muir, RSW (British, 1875-1951)Peonies signed 'AD Muir' (lower right)oil on canvas61 x 45.7 cm. (24 x 18 in.)Footnotes:ProvenanceWith St Andrews Fine ArtExhibitedSt. Andrews, St. Andrews Fine Art, Annual Exhibition, June 1986, cat.no.231For further information on this lot please visit Bonhams.com
Lot 118
James Watterson Herald (British, 1859-1914)After the Service, Arbroath signed 'Jas. W. Herald' (lower left) and titled 'After the service' (lower right)watercolour36.5 x 52.3 cm. (14 3/8 x 20 9/16 in.)Footnotes:ProvenanceWith Cyril Gerber Fine Art, GlasgowSale; Lyon and Turnbull, The Contents of Kirkton House, 10 October 2018, lot 107For further information on this lot please visit Bonhams.com
Lot 15
Duncan Cameron (British, 1837-1916)Harvesters at eventide signed and dated 'D.Cameron 1886'oil on canvas71.1 x 114.3 cm. (28 x 45 in.)Footnotes:ProvenanceWith David Messum Fine Art, LondonPrivate collection U.K.Duncan Cameron spent the late summer and autumn of 1886 painting in the Braes o' Lorn between Loch Awe and Loch Etive. Therefore, this painting is possibly 'Harvest on the Braes o' Lorn' or 'Ben Cruachan from the head of Loch Etive', which were among the four paintings exhibited at the Royal Scottish Academy in 1887.For further information on this lot please visit Bonhams.com
Lot 27
James Stuart Park (British, 1862-1933)A near pair of still lifes; Crimson and White Roses in a Glass,together with Crimson, Lemon and White Roses in a Glass Vase (2)both signed 'Stuart Park' (lower edge)oil on canvas50.8 x 40.6 cm. (20 x 16 in.) overall canvas sizes, presented in oval aperturesFootnotes:ProvenanceWith John McNicol & Sons, KilmarnockWith David Messum Fine Art, LondonPrivate collection, UKFor further information on this lot please visit Bonhams.com
Lot 32
James Paterson PRSW RSA RWS (British, 1854-1932)West Linton signed 'Jas Paterson' (lower right)oil on panel12 x 20.3 cm. (4 3/4 x 8 in.)Footnotes:ProvenanceWith the Fine Art Society, September 1980With Bourne Fine Art Limited, EdinburghPrivate collection, UKFor further information on this lot please visit Bonhams.com
Lot 33
James Paterson PRSW RSA RWS (British, 1854-1932)Edinburgh from Corstorphine Hill signed and dated 'James Paterson/1911' (lower left) and inscribed 'Edinburgh from Corstorphine Hill/James Paterson/to Arthur W. Dace/Xmas.1911' (verso)oil on board18 x 27.2 cm. (7 1/16 x 10 11/16 in.)Footnotes:ProvenanceWith the Fine Art Society, 4th July 1988Private collection, UKFor further information on this lot please visit Bonhams.com
Lot 37
Joseph Crawhall RSW (British, 1861-1913)Sheep in a meadow signed and dated 'Crawhall/'87' (lower left)watercolour20 x 26 cm. (7 7/8 x 10 1/4 in.)Footnotes:LiteratureVivien Hamilton, Joseph Crawhall, 1990, ill.no.38ProvenanceWith Ewan Mundy Fine Art, GlasgowSale; Lyon & Turnbull, Edinburgh, 4th June 2015, lot 35With The Fine Art Society, EdinburghPrivate collection, UKFor further information on this lot please visit Bonhams.com
Lot 38
Charles Rennie Mackintosh (Scottish, 1868-1928)The Baptistry, Siena Cathedral, 1891 signed 'C R M.cINTOSH' (lower left)watercolour39 x 28 cm. (15 3/8 x 11 in.)Footnotes:ProvenanceCollection of James Meldrum Esq, acquired after the Memorial Exhibition, thence by descentWith Barlclay Lennie Fine Art, GlasgowPrivate Collection, UKExhibitedGlasgow, McLellan Galleries, Charles Rennie Mackintosh, Margaret Macdonald, Memorial Exhibition, 1933Glasgow, Kelvingrove Art Gallery and Museum, Mackintosh Watercolours, July 1978 - January 1979, cat.no.19LiteratureBillcliffe, Mackintosh Watercolours, 1978, illustrated p.51Robertson, Charles Rennie Mackintosh: The Architectural Papers, 1990, illustrated p.64In 1883, Mackintosh won a Travelling Studentship that had been set up by the Trustees of the Alexander Thomson Memorial for prospective British architects, aged between 18 and 25, of 'approved moral character'. Mackintosh was just 22 years old and this was his first major professional success.Mackintosh spent three months travelling through Italy. He was in Siena from the 10th to the 19th May 1891 and spent most of is time sketching in and around the Cathedral. His contact with Italian art and architecture provided both aesthetic and critical stimulation at a formative period in his career. He brought back a portfolio of drawings and watercolours which developed his reputation as an artist.In October 1891, a selection of these Italian watercolours were displayed in the Glasgow School of Art Club Annual Exhibition. James Guthrie was reputedly so impressed with the work, he exclaimed to Fra Newbery, Director of the School, 'but hang it Newbery, the man ought to be an artist'. (Cited to R. Eddington Smith, Secretary of the Glasgow School of Art Club in a letter to The Glasgow Evening Times, 17 February 1933, p.6).For further information on this lot please visit Bonhams.com
Lot 42
Katherine Cameron RSW RE (British, 1874-1965)Roses and blue bowl signed 'K. Cameron' (lower left)watercolour43.8 x 54.5 cm. (17 1/4 x 21 7/16 in.)Footnotes:ProvenanceWith St. Andrews Fine ArtThis 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
Lot 43
Francis Campbell Boileau Cadell RSA RSW (British, 1883-1937)Head of a young man signed 'F.C.B.Cadell' (lower right), inscribed and dated 'To Miss Tennant from F.C.B. Cadell/1934' (to backboard, verso)watercolour and pencil22.9 x 15.3 cm. (9 x 6 in.)Footnotes:ProvenanceA gift, direct from the artistPrivate collection of Baroness Elliot of Harwood of Rulewater DBE LLDMiss Katharine Tennant, went on to become Baroness Elliot of Harwood of Rulewater DBE LLD (1903-1994), who was one of the most colourful, political and social figures of the century. Born into a distinguished Glasgow industrial family, the Tennants of St Rollox, her political interest took her to the London School of Economics. In 1934, she married The Rt. Hon Walter Elliot, PC CH MC MD FRS LLD, who was Minister for Agriculture at the time. Cadell was a guest at the wedding in North Berwick, which was attended by an enormous crowd. Katherine and Elliot made Harwood House their home, on her 4,500-acre Estate in Roxburghshire. This watercolour was a wedding present and sat well with the rest of their fine art collection.'K' Elliot was the first woman to be made a life Peer and speak in The House of Lords. She once commented 'Mr. Attlee made me a CBE. Later on, in 1958 the Conservative Prime Minister made me a DBE. I sometimes wonder if I am the only woman to have received honours from both Labour and Conservative parties.' In 1954/6/7 she was also represented the UK as a delegate to the United Nations. Other roles included Chairman of the World Refugee Year, the Consumer Council and the Advisory Committee on Child Care for Scotland, as well as President of the Royal Highland Agricultural Society.For further information on this lot please visit Bonhams.com
Lot 44
John Duncan Fergusson RBA (British, 1874-1961)Girl with hat and bow in her hair conte17.5 x 10 cm. (6 7/8 x 3 15/16 in.)Footnotes:ProvenanceMargaret MorrisWith Ewan Mundy Fine ArtThis 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
Lot 53
Joan Eardley RSA (British, 1921-1963)Haystack pen, ink and chalk48 x 61.5 cm. (18 7/8 x 24 3/16 in.)inscribed with studio number 'ED1000' (lower right)Footnotes:ProvenanceThe artist's familyWith Cyril Gerber Fine Art, GlasgowPrivate collection UK, thence by descentThis 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
Lot 58
Sir Robin Philipson RA PRSA FRSA RSW RGI DLitt LLD (British, 1916-1992)Carosel I signed and dated 'Robin Philipson/1986' to backboard (verso), further inscribed and dated to artist's label (verso)pastel22.5 x 38 cm. (8 7/8 x 14 15/16 in.)Footnotes:ExhibitedEdinburgh and Glasgow, The Fine Art Society, Sir Robin Philipson at 70, November-December 1986, cat.no.62This 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
Lot 84
Jack Hoggan (Vettriano) (British, born 1951)Fisher folk signed 'Hoggan' (lower right)oil on canvasboard39 x 49 cm. (15 3/8 x 19 5/16 in.)Footnotes:ProvenancePurchased from Malcolm Antiques, Elie, in 1987Private collection, UKRosslyn Fine ArtPrivate collection, UKThis 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
Lot 1
CHARLES EAMES (U.S., 1907 - 1978) & RAY EAMES (U.S., 1912 - 1988)."Lounge Chair, design 1956.Rosewood frame, with black leather upholstery and black polished aluminium base.Missing leather and legs.Measurements: 70 x 55 x 107 cm.The Lounge Chair is an iconic piece of modern design. Created by Charles and Ray Eames in the 1950s, it was designed with the aim of combining elegance and supreme comfort. Made of moulded wood, with leather upholstery, this model forms part of important collections such as that of the MOMA in New York. Initially marketed by the furniture manufacturer Herman Miller, both this company and Vitra have continued to produce the model using the same quality-assured manufacturing methods since the 1950s.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become twentieth-century classics. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.
Lot 126
Russian icon from the end of the 18th century."Saint Nicholas of Bari".Painting on wood. Oklad of silvered and gilded metal in border.Some lack of polychromy. Needs cleaning. Wear and tear due to use and passage of time.Measurements: 35 x 30,5 cm .In the Byzantine art, Saint Nicholas is represented with a wide forehead and white beard, and dressed like a Greek bishop; that is to say, with white felonion and omophorion. In his left hand he holds the book of the Gospels, while with his right hand he makes a gesture of blessing.Saint Nicholas of Bari is one of the best-known saints of Christianity. Although little is known about his life, it is said that in Asia Minor he was bishop of Myra and that he was persecuted and captured by the Romans in the 4th century, being later freed by Emperor Constantine I. In the 11th century his relics were taken to Bari (a place of pilgrimage), Italy. He has become the patron saint of Bulgaria, Greece and Russia,
Lot 4
HERMANN EICHBERG (Germany, active 1900)."Hunting Cat", ca.1900.Modernist lamp in bronze and leaded glass.Measurements: 45 x 18 x 23 cm.The German sculptor Hermann Eichberg, active around 1900, was the author of decorative pieces in Art Nouveau style and bronzes representing athletes inspired by Ancient Greek statuary. The modernist lamp in question features a singular and attractive sculptural design: a cat in a predatory attitude raises its hind legs over a hunting trap, preventing it from closing over its body. The feline, with glass eyes, has been resolved with great skill. Its raised tail holds up the floral-format lampshade, in leaded glass, which welcomes tonal shifts.
Lot 105
Takis (Panayiotis Vassilakis) (Greek, 1925-2019)Signal, 1978 signé 'TAKIS' (sur la base)fer, objets trouvés163 x 121 x 26cm (64 3/16 x 47 5/8 x 10 1/4in).Cette œuvre est unique.signed (on the base)iron, found objectsFootnotes: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
Lot 106
Alecos Fassianos (Greek, 1935-2022)Le vase bleu signé en grec (au milieu à gauche)huile sur panneau41 x 30cm (16 1/8 x 11 13/16in).Peint en 1985.signed in Greek (middle left)oil on panelFootnotes:ExpositionThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 75 (listed, p. 197, and illustrated in the exhibition catalogue, p. 110).Littératurehttps://youfly.com/arts/alekos-fasianos-i-cheiropoiiti-zoi-tis-zografikis-tou/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
Lot 13
Nikos Engonopoulos (Greek, 1907-1985)Dédale signé en grec et daté '49' (en bas à droite)tempera à l'œuf sur papier contrecollé sur toile 35 x 20.5cm (13 3/4 x 8 1/16in).Peint en 1949.signed in Greek and dated (lower right)egg tempera on paper laid on canvasFootnotes:ProvenanceThe artist's estate, Athens. Private collection, Athens.ExpositionsParis, Centre Georges Pompidou, Surréalistes Grecs, group exhibition, June 25 - September 23, 1991.Athens, Aenaon International Centre of Fine Arts, In Search of Greekness, the '1930s Generation', group exhibition, December 19, 1994 - January 31, 1995 (discussed, p. 19 and illustrated in the exhibition catalogue, p. 80).Athens, Astrolavos Gallery, N. Engonopoulos, Mythology, Byzantium, Revolution, March 16 - April 3, 1999, no. 35.Athens, Astrolavos Gallery, Nikos Engonopoulos, Surrealist Whispers, October 24 - November 29, 2002, no. 15.LittératureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (discussed), p. 269, fig. 13 (illustrated).N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos, Nefeli editions, Athens 1984, p. 96 (mentioned), p. 196 (catalogued), p. 79, fig. 10 (illustrated).Techni kai Logos magazine, no. 3, December 1985, p. 18 (mentioned), p. 20 (discussed and illustrated).I. Galeridis, Mythological Representations by Modern Greek Painters of the Late 19th and Early 20th Centuries, doctoral dissertation, Athens 1990, pp. 71-72 (discussed).To Vima newspaper, December 18, 1994 (illustrated).Phasis academic journal, no. 2-3, 2000, p. 185 (mentioned).Nikos Engonopoulos, the Byzantine, Athens 2001, p. 12 (discussed), p. 57 (illustrated).D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, pp. 227-228 (discussed), fig. 60 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 50, p. 114 (discussed), p. 115 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 366, p. 148 (illustrated), p. 265 (illustrated), p. 432 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 264-265 (discussed), p. 966 (listed), p. 266, fig. 82 (illustrated). Nea Estia magazine, vol. 162, no. 1804, October 2007, pp. 708-709, fn. 36 (discussed).L. Filotas, Tradition and Renewal / The Survival of Byzantine Tradition in the Work of the Painters Agenor Asteriadis abd Nikos Engonopoulos, Democritus University of Thrace, Komotini 2011, p. 44, fig. 3 (illustrated).Kritiki Estia, per. IV, vol. 15 (2014-18), Chania 2018, pp. 261-262 (discussed), p. 262, fig. 19 (illustrated).http://www.eikastikon.gr/kritikesparousiaseis/zias.html (discussed).http://www.eikastikon.gr/zografiki/egonopoulos_3.html (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
Lot 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
Lot 22
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa editions, Athens 1974, p. 261.6 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
Lot 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
Lot 45
Yiannis Moralis (Greek, 1916-2009)Pleine Lune I inscription en grec, signé et daté '1977' (en bas à droite); inscription, signé et daté 'Yannis MORALIS/ Athènes -Grèce/ 1977' (au revers)acrylique sur toile146 x 124cm (57 1/2 x 48 13/16in).signed and inscribed in Greek and dated (lower right); signed, dated and inscribed (on the reverse)acrylic on canvasFootnotes:ExpositionAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 25 (illustrated in the exhibition catalogue).LittératureSima magazine, no. 22, no. 5, March 1979, p. 48 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980, no. GR TITSpit f636_57, p. 4 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 251, p. 255 (illustrated).To Tetarto magazine, no. 35, March 1988, p. 70 (shown with the artist in a photograph from his 1978 one man show at the Zoumboulakis Gallery, Athens).C. Christou, Moralis, Adam editions, Athens 1993, no. 176 (illustrated).Tenderly embraced by a soft glow of youthful radiance and enthralled by the poetry and eroticism of the curved line, Full moon I's graceful forms reflect the artist's long preoccupation not only with the schematised and suggestively rendered human figure, but also with the inner rhythm and musical resonance generated by the daring combination of varied types, shapes and colours. As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.1 Demonstrating solid structure, purity of form, poetic abstraction, disciplined rhythm, harmonious proportions, and ingenious interplay of gently flowing curves, Full Moon I achieves a striking balance between feeling and thought. 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. As noted by Nobel laureate O. Elytis 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochres and blacks dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'2 Reviewing the artist's work from the late 1970s, art history Professor C. Christou incisively noted that in these paintings 'we overhear an internal dialogue between warm and cool colours, active and passive themes, hard and soft forms, fluid and fixed lines, all of which contrive to create an astonishingly expressive effect. Moralis remains true to the human figure, notwithstanding that he portrays it in such a simplified and schematic manner that it takes on the appearance of a mere suggestion.'3 Likewise, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, noted: '1976 marks the beginning of a new period in his work devoted exclusively to geometric abstraction. Forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form -vaguely reminiscent of nude human figures- take anything away from their graceful tenderness, lyrical quality and richness.'4 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by a sense of human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. True to his Greek heritage and yet utilising a formal vocabulary informed by modern sensitivity, Moralis sought the realisation of a classical ideal, the discovery of a universal measure for logos and pathos. By focusing only on the essential, he expressed what is permanent and universal. 'In his fragmented and elliptical figures and in the wealth of his linear compositions and chromatic statements, he neither describes nor narrates but expresses and interprets the forces of creation.'51 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.3 C. Christou, Moralis, Adam editions, Athens 1993, p. 33.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.5 Christou, Moralis, pp. 20, 33, 34.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
Lot 54
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Cabines abandonnées signé et daté 'Ghika 70' (en bas à droite)huile sur panneau70 x 58cm (27 9/16 x 22 13/16in).Peint en 1970.signed and dated (lower right)oil on panelFootnotes:LittératureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, no. 409, p. 304 (illustrated).Angular shapes, slanted lines and geometric planes imbued with the breath of the earth emerge like ancient ruins from the rugged terrain, while a wooden cabin in the distance seems to impose order on an elemental universe, recalling the artist's famous Kifissia at the National Gallery in Athens. As the schematic undulations of the landscape ascend in petrified waves, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'1 Small patches of blue sky provide a sense of peace, while in the entire upper part, the subdued palette opens up to a soothing stretch of wonderful lavenders and lilacs. Starting off with a Cezannesque conception of the landscape's deeper geometrical structure, Ghika delves beyond the surface to capture something of its inner truth. According to the painter himself, the fragmentations and distortions of modern art allude to an enduring convention of Greek art: 'The character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.2 Here, the abandoned cabin in the background and the masonry stones on the left—which in a sense foreshadow the artist's body of work inspired by the restoration of an abandoned olive press on the island of Corfu in the mid-1970s— allude to the words of art historian M. Chatzidakis: 'Ghika's paintings are perfect architectural edifices where each element has an essential and irreplaceable function, while all parts are completely subservient to the whole.'3 1 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.2 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938. 3 See M. Chatzidakis in N. Hadjikyriakos-Ghika [in Greek], exhibition catalogue, Eirmos gallery, Thessaloniki 1994, p. 34.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
Lot 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
Lot 63
Lucas Samaras (Greek, born 1936)Conflict 23 #35493.03 pigments purs sur papier57.2 x 74.9cm (22 1/2 x 29 1/2in).Édition 3/5. Réalisé en 2003.pure pigments on paperFootnotes:ProvenancePace Wildenstein gallery, New York.ExpositionsNew York, PaceWildenstein gallery, Lucas Samaras Photofictions, November 11, 2003 - January 10, 2004, no. 24 (illustrated in the exhibition catalogue).London, Waddington galleries, Lucas Samaras Photofictions, March 24 - April 17, 2004, no. 24 (illustrated in the exhibition catalogue).LittératureUnrepentant Ego: The Self-Portraits of Lucas Samaras, exhibition catalogue, Whitney Museum of American Art, New York, 2003, p. 318 (illustrated).Lucas Samaras Retrospective, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2005, p. 304 (illustrated).K. Koskina, Lucas Samaras, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, p. 77 (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
Lot 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
Lot 77
Nonda (Papadopoulos) (Greek, 1922-2005)Femme à la guitare signé 'NONDA (au revers); porte le cachet de l'artiste (sur le châssis)acrylique sur toile94 x 130cm (37 x 51 3/16in).Peint en 1968.signed (on the reverse); bearing the artist's stamp (on the stretcher)acrylic on canvasFootnotes:ExpositionsAthens, Melina Mercouri Cultural Centre, Nonda, Peintre Grec de l'Ecole de Paris - Œuvres des Années 1955-1975, September 2003 (illustrated in the exhibition catalogue, pp.13, 50).Nicosia, Cyprus, Famagusta Gate, Nonda, Peintre Grec de l'Ecole de Paris - Œuvres des Années 1955-1975, 2004 (illustrated in the exhibition catalogue, p. 50).Athens, Benaki Museum, Nonda, Six Decades of Art 1940-2000, retrospective exhibition, December 14, 2006 - February 18, 2007.An extraordinary picture imbued with bold colours and free brushstrokes, Femme à la guitare emanates the musical, colourful brio of Nonda's 1960s work. Tributed as one of Greece's most diverse and celebrated artists of the postwar Ecole de Paris,1 the artist travelled to the United States in 1968 to spend a six-month period in New York City with his young American fiancée. Inspired by his new love, he threw his energy and excitement into an outstanding and joyous, if limited, series of vivid canvases that explore the abstracted human form with a new emphasis on colour. Musical instruments are symbolic and reoccurring in all phases of the artist's career as an expression of joy.1 From 1947 onward, Nonda lived and worked in Paris, exhibiting primarily with the Galerie Charpentier. He also showed in the annual Grand Palais Salons alongside such towering figures as Braque, Picasso, Leger, Buffet, Chagall, de Chirico, and Dali.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
Lot 95
Alecos Fassianos (Greek, 1935-2022)Cycliste fumant signé 'A. Fassianos' (en haut à gauche)huile sur toile62 x 52cm (24 7/16 x 20 1/2in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ExpositionsRhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, 23, 42-43).Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from the S.G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 14, 38-39).LittératureMunicipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009, p. 26 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 97
Konstantinos (Dikos) Vyzantios (Greece 1924-2007)Vert de femme signé 'Byzantios' (en bas à droite); signé et daté 'Byzantios 70' (au revers)huile sur toile130 x 97cm (51 3/16 x 38 3/16in).Peint en 1970. signed (lower right); signed and dated (on the reverse)oil on canvasFootnotes:ExpositionHora 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. 34 (illustrated).https://www.monopoli.gr/2019/07/05/istories/art-culture-sub/332838/ntikos-vyzantios-i-diadromi-enos-logiou-kallitexni-apo-to-parisi-stin-andro/https://enandro.gr/politismos/5182-htmlThis 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
Lot 99
Konstantinos (Dikos) Vyzantios (Greece 1924-2007)Bain l'après-midi I signé 'Byzantios' (en bas à droite); signé et daté 'BYZANTIOS 1999' (sur le châssis)acrylique sur toile162 x 130cm (63 3/4 x 51 3/16in).signed (lower right); signed and dated (on the stretcher)acrylic on canvasFootnotes:ExpositionsAthens, Benaki Museum, Dico Byzantios, in Search of the Lost Gaze, September 7 - October 5, 2007.Hora Andros, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Dico Byzantios, Abstraction + Figuration, June 30 - September 22, 2019 (illustrated in the exhibition catalogue, p. 21).LittératureG. Gassiot-Talabot, Constantinos Byzantios, K. Adam editions, Athens 2007, p. 2 (detail), p. 26 (illustrated).Constantinos Byzantios, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 25 (illustrated).https://www.monopoli.gr/2019/07/05/istories/art-culture-sub/332838/ntikos-vyzantios-i-diadromi-enos-logiou-kallitexni-apo-to-parisi-stin-andro/https://www.androsfilm.gr/2019/03/07/nea-epohi-gia-to-idryma-basili-ke-elisas-goylandri-me-neo-moyseio-logotypo-kai-ekthesi/ https://www.culturenow.gr/ntikos-konstantinos-vyzantios-anadromiki-ekthesi-sto-moyseio-sygxronis-texnis-tis-androy/https://www.iefimerida.gr/politismos/ntikos-byzantios-sto-moyseio-goylandri-stin-androThis 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
Lot 25
HOCHFEINES MIKROMOSAIK MIT SITZENDEM HUND. Rom. Datierung: Um 1800. Meister/Entwerfer: Giacomo Raffaelli (1753-1836) - zugeschrieben. Technik: Polychromes Mikromosaik. In Messingfassung und Holzrahmen. Beschreibung: In feinstem Mikromosaik, farblich wunderbar nuanciert abgestufte Darstellung eines weißen Hundes auf kleinem Grasstück, den Blick nach rechts oben gewandt vor dunkelblauem Hintergrund. Maße: ø Mosaik ca. 7,5cm. Quadratischer Holzrahmen 13x13,5x2cm. Provenienz:Privatsammlung München.Literatur:Jeanette Hanisee Gabriel: The Gilbert Collection: Micromosaics, London 2000. Ein Mosaik mit gleichem Motiv siehe S.57, Nr.6.DIE KUNST DES MIKROMOSAIKSDen Begriff "Mikromosaik" prägte Sir Arthur Gilbert, ein Geschäftsmann und Kunstliebhaber welcher im Laufe vieler Jahre eine der bedeutendsten Sammlungen von Mikromosaiken aufbauen konnte. Die sogenannte "Rosalind and Arthur Gilbert Collection", wird heute im Victoria und Albert Museum in London verwahrt.Die Kunst des Mikromosaiks gibt es schon seit Jahrhunderten. Die Fertigung der beiden hier angebotenen Stücke fällt in die Zeit des ausgehenden 18.Jh. bzw. beginnenden 19.Jh., als die Technik des Mikromosaiks in den Vatikanischen Werkstätten aus einem ganz profanen Grund wiederbelebt wurde. Die Auftragslage für große Mosaike war Ende des 18.Jh. eher bescheiden. So kam man auf die Idee die großen Gemälde des Petersdoms als kleine Mikromosaike anzufertigen und als Souvenirs an die Italientouristen der sog. Grand Tour zu verkaufen. Die Vatikanischen Werkstätten hatten durch den Verkauf eine nicht unerhebliche zusätzliche Einnahmequelle, so dass es schon bald weitere Werkstätten dieser Art gab. Um 1810 existierten rund 20 private Werkstätten rund um die Spanische Treppe. Die kleinen Steinchen aus Glasfluss formten nicht nur kleine Bilder als Briefbeschwerer, sie zierten auch Tabatieren, Schmuckstücke oder sogar Tischplatten. Die meisten Stücke blieben unsigniert und undatiert. Die Darstellung eines sitzenden Hundes aus dem ausgehenden 18.Jh. existiert ebenfalls in verschiedenen Ausführungen und geht zurück auf die Entdeckung eines Gemäldes in einer Ruine im 18.Jh. Inspiriert von diesem Fund schuf Giacomo Raffaelli (1753-1836) eines seiner bekanntesten Motive. Charakteristisch ist hier die zweidimensionale Darstellung des Hundes vor einem einfachen Hintergrund. Auch unser hier angebotenes Mikromosaik kann wohl aufgrund der Qualität und Ausführung Raffaelli zugeschrieben werden.Literatur:Hanisee Gabriel, Jeanette: The Gilbert Collection Micromosaics, London 2000. Rom Italien Kunstkammer 18./19. Jahrhundert MikromosaikErläuterungen zum Katalog
Lot 27
SPIEGELRAHMEN MIT AUFWÄNDIGEM SCHNITZDEKOR. Deutschland. Datierung: 1. Hälfte 18. Jh. Meister/Entwerfer: In der Art des Johann Michael Hoppenhaupt. Technik: Holz, geschnitzt und vergoldet. Spiegelglas. Beschreibung: Virtuos geschnitzter Rahmen mit schlanken Schilfrohren an den Seiten, feinsten Rocaillen und Blüten. Bekrönt durch bewegte Kartusche. Am unteren Rand breite, konsolförmige Ablage und auf der rechten Seite, im unteren Viertel des Rahmens, eine weitere kleine ovale Konsolablage. Darauf die Figur eines kleinen AmorsAuf der rechten Seite eine kleine Drachenfigur, aus einer Volute herauswachsend. Maße: 91,5x55x14,5cm. Provenienz:Sammlung "Haus Lüttgens", AachenLiteratur:Lüttgens, Aachen (Hrsg.): Haus Lüttgens, Alt-Aachener Wohnkultur, Aachen o.J. Der hier vorliegende Spiegel an seinem originalen Standort auf S.64, Tafel 52 abgebildet. Deutschland Einrichtungen und Dekorationen 18. Jahrhundert SpiegelErläuterungen zum Katalog
Lot 339
FÜNFTEILIGES ART DECO KAFFEE- UND TEESERVICE MIT FACETTIERTEM KORPUS. Wohl Belgien. Datierung: Anfang 20. Jh. Technik: Silber, zweimal mit Innenvergoldung. Holzhenkel und -knäufe. Beschreibung: Bestehend aus Kaffeekanne, Teekanne, Milchkännchen und Zuckerdose sowie Tablett. Gewicht: Ca. 4260g. Maße: Höhe Kannen 15,5/13cm, Tablett 60 x 35,5cm. Marke: Feingehalt 800 (Tardy S.87). Wohl Belgien Belgien Silber 20. Jahrhundert Service SilberErläuterungen zum Katalog
Lot 37
PENDULE AUF KONSOLE MIT CHINOISERIEN LOUIS XV. Datierung: Um 1760-70. Meister/Entwerfer: Gehäuse Balthazar Lieutaud, Paris. Zifferblatt Gerard, Metz. Technik: Feuervergoldete Bronzeapplikationen, farbige Lackmalerei. Emailzifferblatt. Beschreibung: Geschwungene Konsole reich mit Voluten verziert. Hochrechteckiger, geschweifterKorpus mit entsprechenden Applikationen. Konsole, Gehäuse und Aufsatz mit Vernis-Martin-Dekor in Form feiner polychromer Chinoiserien mit Goldlack auf dunkelgrünem Fond. Rundes Zifferblatt bestehend aus zwölf Kartuschen mit römischen Ziffern und arabischer Minuterie gruppiert um rundes Mittelstück. Quadratisches 14-Tage-Pendulewerk mit Ankergang, Fadenaufhängung und Halbstunden- und Stundenschlag auf obenliegender Glocke. Maße: Höhe inkl. Konsole ca.123cm, Breite 45cm. Zifferblatt bez. "Gerard Pere A Metz" (Metz, ca.1765, Loomes S.297). Gehäuse rücks. gestempelt "B. Lieutaud" (Balthazar Lieutaud, Paris, 1720 - 1780). Beilage: P&S, sowie Schlüssel für frontale Tür. Literatur:- Kjellberg, Pierre: Le Mobilier Français Du XVIII Siècle, Paris 1989. Zu Lieutaud siehe S.532ff.- Tardy: La Pendule Française, Bd.1, Paris 1949. Ein Uhrenghäuse von Lieutaud ähnlicher Art siehe S.159. Standuhren und Kaminuhren 18. Jahrhundert PenduleErläuterungen zum Katalog
Lot 42
TASSE UND UNTERTASSE MIT "FÄCHERCHINESEN". Meissen. Datierung: Um 1735. Meister/Entwerfer: In der Art von J.E. Stadler. Technik: Porzellan, farbig staffiert. Beschreibung: Zwischen indianischen Blumen jeweils einzelne Chinesenfigur mit Schirm bzw. Fächer. Gitterborte floral gestaltelt, u.a. mit halben Päonienblüten. Die Unterseite der Schale mit drei eisenroten Ringlinien. Maße: Höhe Tasse 8cm, ø Untertasse 12cm. Marke: Schwertermarke. Provenienz:Privatsammlung Westfalen.Literatur:Rückert, Rainer: Meißener Porzellan 1710-1810, 1966, Typ vgl. Nr.218. Meissen Deutschland Porzellan 18. Jahrhundert Tasse und UntertasseErläuterungen zum Katalog
Lot 76
GRUPPE VON VIER PFLANZEN-ANATOMISCHEN MODELLEN. Wohl Deutschland. Datierung: 19./20. Jh. Meister/Entwerfer: In der Art von R. Brendel, Berlin. Technik: Papiermaché auf Drahtgestell, farbig gefasst. Je mit ebonisiertem Holzgestell. Maße: Höhe 43/42/41/34,5cm. Marke: Ohne erkennbare Marken. Provenienz:Sammlung Prof. Thomas Olbricht. Wohl Deutschland Deutschland Kunstkammer 19./20. JahrhundertErläuterungen zum Katalog
Lot 78
KLEINER ANHÄNGER MIT BIENE. Walter, Victor Amalric. Nancy. Datierung: 1920er Jahre. Material: Pâte de verre, transluzide Glasmasse mit blauen, die Biene mit gelben und schwarzen Ein- bzw. Aufschmelzungen. Maße: 6x4cm. Marke: Oben rechts bezeichnet "AW", ligiert. Provenienz:Sammlung Prof. Thomas Olbricht. Victor Amalric Walter Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger GlasErläuterungen zum Katalog
Lot 79
KLEINER ANHÄNGER MIT BIENE. Frankreich. Datierung: 20.Jh. Material: Pâte de verre, transluzide Glasmasse mit grünen und blauen, die Biene mit gelben und braunen Ein- bzw. Aufschmelzungen. Maße: 2,5x2,5cm. Marke: Ohne erkennbare Marke. Provenienz:Sammlung Prof. Thomas Olbricht. Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger GlasErläuterungen zum Katalog
Lot 84
ANHÄNGER "SCARABÉE". Walter, Victor Amalric. Nancy. Datierung: Um 1925. Meister/Entwerfer: Entwurf Henri Bergé. Material: Pâte de verre, transluzide Glasmasse mit gelben, grünen und braunen Ein- bzw. Aufschmelzungen. Braunes Seidenband. Maße: 7x5,5cm. Marke: Bezeichnet rechts und links neben dem Käfer "AW" und "HB" (ligiert). Provenienz:- Quittenbaum, München, 2008.- Sammlung Prof. Thomas Olbricht. Victor Amalric Walter Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger GlasErläuterungen zum Katalog
Lot 85
ANHÄNGER MIT FALTER. Walter, Victor Amalric. Nancy. Datierung: 1920er Jahre. Meister/Entwerfer: Entwurf Henri Bergé. Material: Pâte de verre, transluzide Glasmasse mit gelben und beigen, der Falter mit gelben und braunen Ein- bzw. Aufschmelzungen. Maße: 4,5x4cm. Marke: Links und rechts vom Falter bezeichnet "AW N" und "HB" (ligiert). Provenienz:Sammlung Prof. Thomas Olbricht. Victor Amalric Walter Frankreich Jugendstil / Art Déco 20. Jahrhundert Anhänger GlasErläuterungen zum Katalog
Lot 86
KLEINER BRIEFBESCHWERER MIT BIENE. Walter, Victor Amalric. Nancy. Datierung: 1920er Jahre. Material: Pâte de verre, transluzide Glasmasse mit blauen und türkisfarbenen, die Biene mit braunen und gelben Ein- bzw. Aufschmelzungen. Maße: 5x4,5cm. Marke: Auf Rückseite bezeichnet "A Walter Nancy". Provenienz:Sammlung Prof. Thomas Olbricht. Victor Amalric Walter Frankreich Jugendstil / Art Déco 20. Jahrhundert Briefbeschwerer GlasErläuterungen zum Katalog
Lot 87
GROßE JARDINIERE "TRITON UND NEREIDE". Schmutzer, Emmanuel. KPM, Berlin. Datierung: Entwurf 1898. Material: Porzellan, farbige Glasur vorwiegend in Grün- und Blautönen. Beschreibung: Die als bewegte Wellen gestaltete Wandung trägt die skulptural gestaltete Figur des Triton, der sich der zurückweichenden Nereide nähert. Maße: 32x70x48cm. Marke: Zeptermarke, versch. Ritzzeichen. Literatur:Von Treskow, Irene: Die Jugendstilporzellane der KPM, München 1971, KatNr. 18, S.141.Emanuel Schmutzer entwarf das Modell der hier vorliegenden Jardiniere 1898 für die Königliche Porzellan-Manufaktur Berlin. Im Jahre 1900 wurde sie dann auf der Pariser Weltausstellung der Öffentlichkeit präsentiert.Diese kraftvolle Darstellung - gemeinsam mit der tonigen Farbigkeit der virtuos eingesetzten Glasurtechnik - ist ein beeindruckendes Zeugnis der Formensprache des Jugendstils und zieht den Betrachter in ihren Bann.Das seltene Modell taucht nur hin und wieder auf dem Kunstmarkt auf. Ein Exemplar dieses Entwurfs befindet sich unter anderem in der Sammlung des Victoria & Albert Museum in London. Emmanuel Schmutzer Deutschland Jugendstil / Art Déco 19./20. Jahrhundert Jardiniere PorzellanErläuterungen zum Katalog
Lot 93
KLEINE VASE MIT ROSENDEKOR. Léveillé, Ernest Baptiste. Paris. Datierung: Um 1890. Material: Farbloses Glas, milchig hinterfangen. Überfang in Braun. Beschreibung: Kleine umlaufende Rosenranke. Maße: Höhe 6cm. Marke: Am Boden bezeichnet "Léveillé", diamantgerissen. Provenienz:Sammlung Funke-Kaiser, Köln.Literatur:Klesse, Brigitte/ Mayr, Hans: Glas vom Jugendstil bis heute. Sammlung Gertrud und Dr. Karl Funke-Kaiser, Köln 1981, diese aufgeführt und abgebildet Vase Kat.Nr. 427. Ernest Baptiste Léveillé Frankreich Jugendstil Jugendstil / Art Déco 19. Jahrhundert Vase GlasErläuterungen zum Katalog
Lot 94
FRAUENFIGUR "THAIS". Lalique, René. Wingen-sur-Moder. Datierung: Um 1925. Material: Farbloses, im Model geformtes und satiniertes Glas. Bronzesockel, elektrifiziert. Beschreibung: Auf ellipsenförmigem Sockel mit angeschrägten Kanten stehender Akt einer jungen Frau, die Arme weit zu den Seiten ausgebreitet und ein bodenlanges Tuch haltend. Den Kopf auf ihre linke Schulter gelegt und ein Bein angewinkelt. Anbei ein elektrifizierter Sockel. Maße: Auf Sockel 27x23x9cm. Marke: Am Boden der Figur bezeichnet "R.Lalique". Literatur:Lalique Marc & Marie-Claude: Lalique par Lalique, Paris 1977. Für das Modell siehe S.174f. René Lalique Frankreich Jugendstil / Art Déco 20. Jahrhundert Figur GlasErläuterungen zum Katalog
Lot 97
STENGELGLAS MIT LOTOSBLÜTENBLÄTTER. Gallé, Emile. Nancy. Datierung: Um 1902. Material: Farbloses Glas, milchig weiß hinterfangen. Überfang in Grün und Blau. Beschreibung: Glockenförmige Kuppa mit Blattdekor im Relief über Stengel mit rundem Fuß. Maße: Höhe 13,5cm. Marke: Am Boden bezeichnet "Gallé". Provenienz:Sammlung Funke-Kaiser, Köln.Literatur:Klesse, Brigitte/ Mayr, Hans: Glas vom Jugendstil bis heute. Sammlung Gertrud und Dr. Karl Funke-Kaiser, Köln 1981, diese Vase aufgeführt und abgebildet Kat.Nr. 202. Emile Gallé Frankreich Jugendstil / Art Déco 19./20. Jh. 20. Jahrhundert Vase GlasErläuterungen zum Katalog
Lot 98
VASE MIT SEENLANDSCHAFT. Daum Frères. Nancy. Datierung: Um 1892-95. Material: Fabloses Glas, hellblau hinterfangen. Email- und Golddekor. Beschreibung: Seenlandschaft mit Fichten am Ufer und Bergen im Hintergrund. Oben und rückseitig herausgeätzte, polierte und goldkonturierte Blütenzweige. Maße: Höhe 18,5cm. Marke: Am Boden bezeichnet "Daum Nancy" mit Lothringer Kreuz in Gold. Provenienz:Sammlung Funke-Kaiser, Köln.Literatur:Klesse, Brigitte/ Mayr, Hans: Glas vom Jugendstil bis heute. Sammlung Gertrud und Dr. Karl Funke-Kaiser, Köln 1981, diese Vase aufgeführt und abgebildet Kat. Nr. 40. Daum Frères Frankreich Jugendstil / Art Déco 19. Jahrhundert Vase GlasErläuterungen zum Katalog
Lot 99
KLEINE KEULENVASE "PHÄNOMEN". Loetz Witwe. Klostermühle. Datierung: Um 1900. Material: Blau opaleszierendes Überfangglas. Wellenförmig gekämmte silberblaue Fäden. Auflagen mit silbergelben Fäden. Beschreibung: Keulenförmiger Korpus mit vier Tropfenauflagen, in dünnen Strängen nach unten auslaufend. Maße: Höhe 21cm. Marke: Am Boden bezeichnet "Loetz Austria". Literatur: Ricke, Helmut u.a.: Lötz Böhmisches Glas 1880-1940, München 1989, Bd.I. Für den Dekortyp siehe S.113. Loetz Witwe Tschechien Jugendstil 19./20. Jh. Jugendstil / Art Déco 19./20. Jahrhundert VaseErläuterungen zum Katalog
Lot 104
VASE MIT HERBSTZEITLOSEN. Gunnarson, Gunnar. Wennerberg. EkebergaDatierung: Um 1900. Technik: Farbloses Glas, opalisierend hinterfangen. Überfang in Violett und Gelbtönen. Beschreibung: Umlaufend floraler Dekor aus blühenden Herbstzeitlosen. Maße: Höhe 27cm. Marke: Am Boden bezeichnet "Koste 279 Wennerberg". Gunnar Gunnarson Jugendstil / Art Déco 19./20. Jahrhundert Vase GlasErläuterungen zum Katalog
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