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Click here to subscribeArt Déco Ring mit 2 Altschliff-Diamanten "Moi et Toi" und 8 kleineren Altschliff-Diamanten, zus. ca. 1,51 ct, um 1925 - 1930Platin; Gesamtgewicht: ca. 3,3 g; zwei diagonal liegende Krönchenfassungen, jeweils mit einem gefassten Altschliff-Diamanten, zusammen ca. 1,45 ct, und 8 kleineren Diamanten, zusammen ca. 0,06 ct; Farbe: H-I und J-K; Reinheit: SI2 und SI1; Maße der Ringmitte: ca. 8,4 x 15,9 mm; Ringgröße: 46,5.
6-stufiger Engelberg mit Kerzentüllen, Wendt & Kühn, Grünhainichen im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst des traditionsreichsten und bekanntesten Herstellers; hier zur perfekten Präsentation ihrer Weihnachtsengel ein 6-stufige Engelberg mit 16 Kerzentüllen (Maße ca. 77 x 38,5 x 11 cm - inkl. Kerzentüllen ca. 12,8 cm) in verschiedenen abgestuften Blautönen mit feiner Sternenbemalung; guter Zustand mit wenigen altersbedingten leichten Gebrauchsspuren (minimale feine Lackrisse und größere Abplatzungen an einigen Kerzentüllen), rückseitig mit einem alten W & K Firmenetikett und Aufklebern des Geschäfts Kunsthaus Ludwig Schaller in Stuttgart; Gewicht: ca. 2,9 Kg.
Paar Ohrclips mit Amethyst und kleinen Achtkant-Diamanten, 90er-Jahre585/- Gelbgold. Gestempelt 14 k. Gesamtgewicht: ca. 9,3 g. Hochoval gefasster, ovaler, facettierter Amethyst, zusammen ca. 10 ct; an der unteren Spitze angesetzte stilisierte Schleife, jeweils mit 10 kleinen Achtkant-Diamanten ausgefasst, zusammen ca. 0,1 ct; Farbe: G-I; Reinheit: P1-SI1; Stift- und Clipmechanik. Maße: ca. 20 x 14,4 mm; Höhe: ca. 8,4 mm.
Figurengruppe Hänsel & Gretel mit Hexe und 6 Tannen, Christian Ulbricht, Seiffener Nussknackerhaus und Wendt & Kühn, Grünhainichen im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst aus dem Seiffener Nussknackerhaus und von Wendt & Kühn; die 3 Märchenfiguren in sorgfältiger polychromer Bemalung; dabei 6 Tannen (W & K); sehr guter Zustand und nur minimale Altersspuren (Farbabplatzer an Zopfschleife und Sockel bei Gretel, minimale Abplatzer an einer mittleren Tanne); im Boden jeweils der Firmenaufkleber (3 x bei den Tannen); Höhe Figuren ca. 6,5 - 8,5 cm, Höhe Tannen ca. 9,6 - 16,5 cm; Gewicht: ca. 168 g.
Madonna mit Christkind und Petrus mit Schlüssel, Wendt & Kühn, Grünhainichen und Christian Ulbricht, Seiffener Nussknackerhaus im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst des traditionsreichsten und bekanntesten Herstellers (Madonna mit Christkind) sowie von Christian Ulbricht (Petrus); sehr guter Zustand ohne nennenswerte Altersspuren; unterseitig mit einem alten W & K Firmenetikett und Aufklebern des Geschäfts Kunsthaus Ludwig Schaller in Stuttgart bzw. altem Preisschild (Petrus); H: ca. 8,8 cm und 12 cm; Gewicht: ca. 218 g.
Collier mit Brillanten, zus. ca. 1 ct, 70-er Jahre750/- Weißgold; Gesamtgewicht: ca. 4,5 g; stilisierte Tropfenform, unterteilt in feststehende und bewegliche Krappenfassungen, gefasst mit Brillanten; 1 Brillant ca. 0,68 ct; Farbe: G-H; Reinheit: VS; 2 Brillanten und 1 Diamant-Navette, zusammen ca. 0,15 ct; Farbe: G-K; Reinheit: SI-VS; feine Ankerkette mit Kastenschloss und seitlicher Sicherheitsacht; Länge des Anhängers: ca. 22,7 mm; Collier Gesamtlänge: ca. 40 cm.
Großer Deckelpokal, Wilkens & Söhne, Bremen, Deutschland, 1901800/- Silber; Gesamtgewicht: ca. 880 g; konischer Korpus mit Dekor in Anlehnung an Ananaspokale und floraler ziselierter und erhabener Ornamentik; am oberen Rand umlaufend graviert: "Dem Sieger des Mooswald Jagd Rennens Freiburg i. Br. 6. October 1901." und "Friedrich Erbgroßherzog von Baden"; Korpus innen feuervergoldet und über eingezogenem Schaft auf breitem, getreppten, eingewölbten Standfuß mit Kordelrand; abnehmbarer Deckel mit umlaufend gewelltem Rand unter aufgesetzter Haube mit Ananasdekor und filigraner Bekrönung in Form eines Blumenbouquets; unterseitig mit Silberpunze, Halbmond und Krone, Meistermarke sowie Buchstaben "K" und unklarer Nummerierung gestempelt; altersbedingte Mikrokratzer und Oxidationsrückstände; Höhe: ca. 40,7 cm.
Antiker Ring mit 3 Altschliff-Diamanten, zus. ca. 0,4 ct, um 1900585/- Gelbgold; Gesamtgewicht: ca. 1,8 g; 3 untereinander gefasste Altschliff-Diamanten, davon 1 x 0,20 ct; Farbe: G-H; Reinheit: VSI; 2 x Altschliff-Diamanten, zus. ca. 0,20 ct; Farbe: J-K; Reinheit: Piqué 1 – SI 2; umrandet von einem feinen, durchbrochenen Rand; schmale Ringschiene; Maße der Ringmitte: ca. 13,3 x 5,6 mm; Ringgröße: 53.
"Wiegegruppe" 8 Engel mit Wiege, Wendt & Kühn, Grünhainichen im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst des traditionsreichsten und bekanntesten Herstellers, hier eine Wiegengruppe mit 8 Engeln mit weißen und blauen Flügeln (2 x betend, 2 x singend, 2 x mit Instrumenten, 1 x mit Baby, 1 Margeritenengel mit Stern) und einer separaten Wiege; die Engel sind aus verschiedenen Jahrzehnten mit vereinzelt leichten Altersspuren (wenige winzige Farbabplatzungen, 1 Zöpfchen abgebrochen), ansonsten sehr schöner Zustand; im Boden alle mit Original Firmenaufkleber (nur die Wiege ohne W&K Aufkleber und mit Händleraufkleber), teilweise mit alten Preisschildern; Höhe ca. 2,5 - 7,5 cm; Gewicht: ca. 113 g.
4-stufiger Engelberg mit Kerzentüllen, Wendt & Kühn, Grünhainichen im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst des traditionsreichsten und bekanntesten Herstellers; hier zur perfekten Präsentation ihrer Weihnachtsengel ein 4-stufiger Engelberg in verschiedenen abgestuften Blautönen mit 12 Kerzentüllen mit 11 Messingeinsätzen (ein Einsatz fehlt); Maße ca. 56,5 x 28 x 8 cm - inkl. Kerzentüllen ca. 10 cm; guter Zustand mit altersbedingten leichten Gebrauchsspuren (minimale Lackrisse und Abplatzungen, Wachsreste), rückseitig mit einem alten W & K Firmenetikett und Aufklebern des Geschäfts Kunsthaus Ludwig Schaller in Stuttgart; Gewicht ca. 1,2 kg.
Breites Gliederarmband mit 51 Tansanit-Navetten, zus. ca. 22 ct, und 34 Brillanten, zus. ca. 1 ct, 21. Jh.585/- Gelbgold; Gesamtgewicht: ca. 46,5 g; breites Gliederarmband in Bandform, dreifach untereinander angeordnete, einzelne Krappenfassungen; ausgefasst mit 51 Tansanit-Navetten, zus. ca. 22 ct, in leuchtend blau/violetter Farbvarietät und hoher Reinheit; unterteilt von 34 Brillanten, zus. ca. 1 ct; Farbe: G-K; Reinheit: Piqué 1 bis Piqué 2; verdecktes Kastenschloss; Breite des Armbandes: ca. 16,2 mm; Gesamtlänge: ca. 18,5 cm.
Art Déco Ring mit Altschliff-Diamanten, zus. ca. 1 ct und Saphire-Konturlinien, um 1925-3018 ct Gelbgold und Platin; Gesamtgewicht: ca. 3,6 g; ellipsenförmige Ringmitte mit passigem Rand; mittig 9 in Pavé gefasste Altschliff-Diamanten, zusammen ca. 1 ct; Farbe: G-K; Reinheit: meist SI-VS; umrahmt von kleinen Saphir-Carré-Steinen; Maße der Ringmitte: ca. 17,7 x 12,8 mm; Ringgröße: 56; eine Diamantrose und ein kleiner Saphir fehlen.
Ring und Armband, 13 gelbe Saphire, zus. ca. 9,5 ct und ca. 171 Achtkant-Diamanten, zus. ca. 1,85 ct, 21. Jh.Silberfarbenes Metall, gestempelt 14 K; kein Weißgold; Gesamtgewicht: ca. 36,1 g; getreppte, verschlungene und durchbrochene Formen mit geometrischen Elementen, bestehend aus einzelnen Krappenfassungen und in Pavé gefassten Brillanten/Diamanten und gelben Saphiren.Detailliert:Ring: 4 ovale, facettierte Saphire, zus. ca. 2 ct und Diamanten, zus. ca. 0,15 ct; Farbe und Reinheit: im mittleren Bereich.Armband: 9 ovale, facettierte Saphire, zus. ca. 7,5 ct (je 0,6–1 ct); ca. 171 Achtkant-Diamanten, zus. ca. 1,7 ct; Farbe: G-I, Reinheit: meist SI.Saphire in leuchtend gelb-orangener Farbvarietät.Maße der Ringmitte: ca. 19,8 x 21,5 mm; Höhe: ca. 13,6 mm. Breite des Armbandes: ca. 12,9 mm; Gesamtlänge: ca. 18,5 cm.
Elektrische Beleuchtung für den 6-stufigen Engelberg mit Kerzentüllen, Wendt & Kühn, Grünhainichen im Erzgebirge, 20. Jh.Erzgebirgische Holzschnitzkunst des traditionsreichsten und bekanntesten Herstellers; hier zur perfekten Ergänzung des 6-stufigen Engelbergs die elektrische Beleuchtung mit 16 Kerzen; Aufbau in Mittelblau, Kerzentüllen in Hellblau; L: ca. 77,5 cm, H: ca. 28,5 inkl. Kerze; sehr guter Zustand mit wenigen altersbedingten leichten Gebrauchsspuren (eine äußere Kerze etwas wackelig); mit einem alten W & K Firmenetikett sowie Aufklebern zur Elektrik, dabei eine Bedienungsanleitung und 5 Ersatzbirnen;Gewicht ca. 1,9 kg.
ELGAR (EDWARD)Series of 20 autograph letters signed ('Edward Elgar', 'Elgar') to Sir Alfred Herbert Brewer (1865-1928), one to Mrs Brewer and one to Charles Brewer, the first recommending Brewer's Emmaus nos. 7 & 8 [of 1901] for the Madresfield Competition ('...if I might be so bold I wd suggest the 3 bars at K (a fifth lower naturally) these would lead into the chorus well...'), the majority concerning the management of the Three Choirs Festival of 1921 and 1922 and mentioning contributions by Bliss and Goosens, ('...the boys are very pleased & it will be a first class thing for the festival... & do away with the remnant of the notion that everything must be a sort of C of E propaganda...'), technical issues (suggesting '...a heavier bass at H'ford on account of the shortness of organ ped there...'), choice of programme ('...I do not want to think the Three Choirs is or are cutting things down....'), making arrangements, and much else, the final letter to Charles Brewer asking him to arrange an audition for Doris Leech, 50 pages, light dust-staining, creased at folds, some small tears, 4to (254 x 202mm.) and smaller, Malvern, The Athenaeum, Brooks's, St James' Place, Perryfield House and elsewhere, 21 November 1901 to 6 November 1931; with two envelopes; autograph letter signed ('Anthony Hope Hawkins') to the Midland Regional Director of the BBC, 6 January [19]31; and further typed letter signed from the BBC to Elgar, 27 October 1931 (24)Footnotes:This correspondence spans some thirty years, but the majority of the letters date from 1921 and 1922 when Elgar and Brewer collaborated on the Three Choirs Festival, an event which began in 1715 and involved the choirs of Hereford, Worcester and Gloucester Cathedrals. Born and bred in Gloucester, Sir Albert Herbert Brewer (1865-1928) held the post of organist and master of the choristers of Gloucester Cathedral from 1896 until his death in 1928. He trained under Charles Villiers Stanford and his pupils included Ivor Novello, Ivor Gurney and Herbert Howells. Through his involvement with the festival, Brewer met Elgar and many other important composers and artistic figures and, during his conductorship '...he introduced many new works and showed great enterprise in the drawing up of programmes...' (F.G. Edwards et al, Grove Music online). His own compositions largely comprised church music for organ and choirs which remain in the standard Anglican canon, including cantatas such as Emmaus of 1901, mentioned here by Elgar. Indeed, Brewer talked at length in his memoir Memories of Choirs and Cloisters of the invaluable assistance Elgar gave him with the score - '...a more generous act could not be imagined...' he wrote. Other works comprised The Holy Innocents and lighter pieces such as The Fairy Pipers which was recorded by Clara Butt. He transcribed several of Elgar's works for organ including Prelude and Angels Farewell from The Dream of Gerontius, In the South, Chanson de Matin and The Coronation March. His son Charles Brewer (d.1978) was a BBC producer who was appointed head of the BBC in Paris in 1944, shortly after the Nazi occupation. In 1945 he was in New York as head of the BBC office in North America. These letters derive from the collection of esteemed ceramics expert and writer the late Henry Sandon, who had a particular interest in Elgar and his works. Provenance: Sir Albert Herbert Brewer (1865-1928); Charles Brewer (d.1978); his nephew Cecil Tew Bruton (1912-1997); purchased from the family of the recipient in 2004 by Henry Sandon (1928-2023); thence by descent.For further information on this lot please visit Bonhams.com
Everton F.C Mick Lyons Test Match 1980 Signed Shirt.With 25 autographs on front of shirt. Believed to be match worn from Mick Lyons testimonial in which it is signed by both the 'Everton Present' (the home team) and the 'Everton Past' (the away team). Umbro Yellow Top with Number 4 on reverse, With Special crest. To fit size 97cm/38inch, S/S. Mick Lyons, a dedicated Everton captain and defender, was honored with a testimonial match during the 1980-81 season in recognition of his contributions to the club. Players Included, Everton Present- 1. J. Mcdonagh, 2 J. Gidman, 3 J Bailey, 4 B. Wright, 5 M. Lyons, 6 G. Stanley, 7 A. Hartford, 8 S. Mcmahon, 9 A. King, 10 B. Latchford, 11 P. Eastoe, 12 E. O'leefe, 13 P.Lodge. Everton Past- 1 G Wood, 2 D. Jones, 3 K. Mcnaught, 4 C Tood, 5 J. Hurst, 6 P. Heard, 7 A. Ball, 8 C. Harvey, 9 H Kendall, 10 M.Dobson, 11 D. Mckenzie, 12 D. Davies, 13 J. Royle, 14 B. Kidd, 15 D. Thomas.
NIKOS KESSANLIS (1930-2004)Pittura signé 'K. NIKOS' en bas à droite; signé, titré et inscrit 'PITTURA / KESSANLIS NIKOS/ GALLERIA/ DEL OBELISCO/ VIA SISTINA / ROMA' au revershuile sur toile150,5 x 150,5 cm. (59 1/16 x 59 1/16in.)signed 'K. NIKOS' lower right; signed, titled and inscribed 'PITTURA / KESSANLIS NIKOS/ GALLERIA/ DEL OBELISCO/ VIA SISTINA / ROMA' on the reverseoil on canvasFootnotes:ExpositionsRome, Dell'Obelisco Gallery, Nikos Kessanlis, December 1957 (possibly).Milan, Montenapoleone Gallery, Nikos Kessanlis, 1958 (possibly).LittératureT. Spiteris Archive, Tellogleion Art Institute, no. GR TITSpit f423_61 (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
YIANNIS MORALIS (1916-2009)Eroticon signé, situé en grec et daté '1997' en haut à droite; signé, daté et inscrit 'Yannis MORALIS / Athènes/ Grèce / 1997' au reversehuile sur toile130 x 195 cm. (51 3/16 x 76 3/4in.)Peint en 1997.signed, situated and dated '1997' upper right; signed, dated and inscribed 'Yannis MORALIS / Athènes/ Grèce / 1997' on the reverseoil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 2002, no. 5 (illustrated in the exhibition catalogue).LittératureMoralis, Adam Editions, Athens 2004, text by C.Christou, numero 273 illustrated. Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 114 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 93 (illustrated).Highlighted by the poetry and eroticism of the curved line, Erotic recapitulates the artist's long preoccupation not only with the suggestively rendered human form, but also with the musical resonance generated by the combination of varied types, shapes and colours. The stark juxtaposition of the fair-skinned female figure with the dark male form—which alludes to Attic black-figure vase painting—charges the composition with a vibrant rhythm and endows it with a classical sense of structure and balance.As noted by the late Director of the National Gallery in Athens M. Lambraki-Plaka, Moralis spontaneously complies with the laws of classical form. His vertical, horizontal, diagonal, and curved lines articulate a harmony full of tension hidden beneath a seeming serenity, attesting to Heraclitus's dictum that the hidden harmony is better than the obvious. His figures, standing or seated, in relaxing poses or engaged in the struggle of love, compose an animate geometry. Moralis is a classical artist for one more reason: his forms are highly sculptural, tactile. Even his most abstract forms encapsulate the memory of touch. This is perhaps why he loved the curve, the orbit of caress. The alchemy of his art hides another secret: the more abstract he got, the more sensual he became. In his later works, the opposing curves of the youthful bodies articulate an ideogram of love. ¹Demonstrating solid structure, disciplined rhythm, purity of form, harmony of proportion, and ingenious interplay of gently flowing curves, Erotic achieves a striking balance between feeling, intellect, and physical passion. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.' ² True to his classical Greek heritage and yet utilising a formal vocabulary balanced to the scale of modern sensitivity, Moralis sought the rediscovery of a universal measure for logos and pathos. 'He used abstraction to isolate the core of human life, to create a language of symbols. He paints the Aegean Sea, the isle of Aegina, the union of human bodies: evocative forms that echo age-old memories, freed from the burden of their physical existence.' ³ Erotic was painted in the summer of 1997 on the island of Aegina at the artist's sun-filled home studio designed by the legendary architect Aris Constantinidis. Moralis used to spend long periods of time on the island during which he produced some of his best works. For him, summer in Aegina started on the week before Easter and ended in mid-October. In Erotic, the mesmerising golden horizontal line that runs across the picture plane is a subtle allusion to the distant flickering lights of metropolitan Athens as seen from the shores of Aegina on a warm summer night. ¹.M. Lambraki-Plaka, Yannis Moralis, 'Classical Harmony and the Integrity of the Gaze' in A Tribute to Yannis Moralis for the Centenary of his Birth, National Gallery - Alexandros Soutzos Museum edition, Athens 2015, pp. 11-13. ². V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.³. Y. Bolis, Yannis Moralis [in Greek], Ta Nea editions, Athens 2007, p. 79.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
THEOFILOS HADJIMICHAEL (1871-1934)Le héro Miltiadis Yiataganas titré et inscrit en grec en haut à gauchepigments naturels sur bois85 x 58 cm. (33 7/16 x 22 13/16in.)titled and inscribed in Greek upper leftnatural pigments on woodFootnotes:ProvenancePrivate collection, Athens (purchased in Volos in 1965).Bonhams, The Greek Sale, London, December 13, 2005, lot 114.Private collection, Athens.LittératureK. Makris, The Folk Art of Pelion, Melissa editions, Athens 1976, p.162 (illustrated).E. Diamantopoulou, Theofilos in Pelion, Alexandria editions, Athens 2007, p. 233 (mentioned).A.Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 104 (illustrated).Magnisia magazine, no.11, November 2008, p. 18, no. 31 (listed).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 4 au 7 novembre 2024. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 4-7 November 2024. This work will be located in Athens during the auction.'When Theofilos paints Greek heroes, their fustanella kilts become flowers in the fields.'¹S. Eleftheriadis-TeriadeThis extraordinary painting was originally part of a door or store counter decoration in a tavern or bakery located between the villages of Ano Volos and Anakasia in Central Greece. The work is titled in the artist's own hand writing 'The Hero Miltiadis Yataganas, sergeant in the evzone regiment who fought at Melouna in 1886.' The Greek hero, who was seriously wounded during the Thessaly Uprising, is presented as an evzone wearing almost the same highland garb as the painter himself wore when he left Smyrna for Athens to voluntarily enlist to fight in the 1897 conflict against Turkey. Theofilos did indeed take part in the battles of Velestino and Domokos probably wearing his famed fustanella kilt. Following the end of hostilities he lived and worked for four to five years in a hamlet near the village of Milies on Mt. Pelion. After that he moved back to the city of Volos and then went on to Smyrna before returning to Volos and Mt. Pelion in 1909. The Hero Miltiadis Yataganas belongs to this latter period, one of the most creative and prolific in his career, during which he completed the exquisite wall paintings at the Yiannis Kontos mansion (1910-1912). The first of the two known full-figure portraits of Miltiadis Yataganas (the later one having been painted on the island of Lesvos in 1932), it is distinguished by its exceptional design, delicate drawing and vibrant palette. Gallantry is indicated through pictorial and iconographic conventions, an approach rooted in Byzantine and folk tradition, reminiscent of 'martial saints' or descriptions found in demotic songs. The inclusion of the title at the top of the painting, in addition to expressing a longing for knowledge following the Ottoman occupation, denotes a unification of iconographic and linguistic symbols in a uniform and living Greek myth. ¹. S. Elefteriadis-Teriade, Athinaika Nea newspaper [in Greek], September 20, 1935.For further information on this lot please visit Bonhams.com
NIKOS ENGONOPOULOS (1907-1985)La partie de football signé en grec et daté '39' en bas à droiteaquarelle et encre sur papier19 x 16,5 cm. (7 1/16 x 6 5/16in.)Peint en 1939.signed in Greek and dated '39' lower rightwatercolour and ink on paperFootnotes:ProvenanceThe artist's collection, Athens.Private collection, Athens.ExpositionsVenice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 60 (listed in the exhibition catalogue, p. 296).Athens, Zoumboulakis Gallery, The Surrealist World of Nikos Engonopoulos from 1938 until Today, 11984, no.8.LittératureBiennale Internationale d'Arte Fiche Desciptive des Oeuvres Pavillon Grec, p. 4, no. 72 (listed by the artist). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 266, p. 251 (illustrated), p. 419 (catalogued and 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
NIKOS ENGONOPOULOS (1907-1985)Vincenzo Cornaro et Georgios Chortatzis signé en grec et daté '79' en bas à droitehuile sur toile contrecollé sur panneau 55 x 45 cm. (21 5/8 x 17 11/16in.)Peint en 1979.signed in Greek and dated '79' lower rightoil on canvas laid on panelFootnotes:ProvenanceThe estate of the artist.Private collection, Athens.Bonhams Greek Sale of 21 November 2018, lot 33.Acquired from the above sale by the present owner.ExpositionsAthens, National Gallery and A. Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 100 (listed and illustrated in the exhibition catalogue, p. 16).LittératureTo Vima daily, March 20, p. 5, 1981 (illustrated).Epikaira magazine, no. 661, 1981, p. 99 (illustrated).Kathimerini daily, April 12-13, 1981 (illustrated).Epikaira magazine, April 14, 1983, pp. 68-69 (illustrated).Ta Nea daily, November 11, 1984 (illustrated).Techni kai Logos magazine, no. 3, December 1985, p. 27 (illustrated). Diavazo magazine, no. 381, January 1998, p. 151 (illustrated).Vradyni daily, January 25, 1998 (illustrated).D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 270 (listed), pp. 239-240 (discussed).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 1095, p. 382 (illustrated), p. 518 (illustrated).D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets, Gutenberg editions, Athens 2007, p. 155 (referred).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 233, pp. 564-565 (discussed), p. 566 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros, 2017, p. 103 (referred).Drawing from the vast storehouse of Greek literary tradition and inspired by the heroism, nobility and romance of bygone eras, Engonopoulos paid homage to the two towering figures of the Cretan Theatre, whom he considered 'links in the chain of Greeks who did everything perfectly.'1 As noted by the artist himself, 'the Cretan Theatre enchanted me and captured my heart at first sight. It's a world in itself, full of conflicting passions, desires, misunderstandings, intentional or otherwise, skulduggery, weeping and laughter. And what action, plot twists and unexpected developments! All told in an impeccable style, flawless language and perfect, often brilliant, verses.'2Captured in full frontal pose, the two figures are reminiscent of Byzantine depictions of military saints.3 On the left, Cornaro in nobleman's garb is pointing upwards with one hand and holding a scroll, probably a poem, with other, while on the right, Chortatzis, also in noble yet less fancy clothing, is wearing a broad-brimmed hat and holding a sword, recalling the definition of Poetry by the great romantic Percy Shelley: 'Poetry is a sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.'4 The action takes place by the sea, with Heraklion's Fortezza and Sitia's Kazarma forts in the background, depicted as a truncated cone and a high gated wall respectively, in a typically surrealist topological inconsistency.5The great Vincenzo Cornaro (1553-1613/4)6, a cultivated artist concerned with invigorating classical tradition, was a leading figure of the Cretan Renaissance and writer of Erotokritos— a romantic epic unanimously acknowledged as the masterpiece of Cretan poetry and a milestone in the history of Greek literature.7 Georgios Chortatzis (1550-c.1610) was also a first rank dramatist and poet, who introduced the theatre to Crete and elevated the local idiom into a literary language.8 His better known works include the comedy Katsourbos and Erofili (Erophile), a tragedy recalling, in broad terms, Sophocles's Antigone. Engonopoulos kept copies of all four plays in his library.9Engonopoulos's persistence on indigenous cultural experiences clearly indicates that 'while European surrealists used an irrational vocabulary to break free from the shackles of traditional conventions, Engonopoulos perceived tradition as a 'connecting link' that would restore cultural continuity from Aeschylus to Romanos the Melodist, demotic songs and Erotokritos.'101. Interview by T. Manikas [in Greek], Vima daily Sunday edition, November 5, 1995.2. N. Engonopoulos, 'A Few Words About the Cretan Theatre' [in Greek], Theatro magazine, no. 7, January-February 1963, p. 26.3. Compare Saint George and Demetrios, portable icon, second half of the 15th century. (From Byzantium to El Greco, Royal Academy of Arts, London 1987, p. 106. Fig 38.)4. See M. Anthis, 'Renditions of Solomos in Greek Surrealism' [in Greek], Avgi newspaper, 20.7.2015.5. See N. Chaini, The Painting of Nikos Engonopoulos [in Greek], doctoral dissertation, National Technical University of Athens, 2007, pp. 564-565, and D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 240.6. Engonopoulos has also written a poem titled Vincenzo Cornaro (In the Valley with the Rose Gardens, Ikaros editions, 1992, p. 105).7. Cornaro's romance became a national poem and its hero a symbol of Hellenism, exalted side by side with Digenis Akritas and Alexander the Great.8. See L. Politis, A History of Modern Greek Literature, Oxford University Press, 1975, pp. 55-56.9. Vlachodimos, pp. 258-261.10. N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
DIAMANTIS DIAMANTOPOULOS (1914-1995)Dans la chambre signé en grec en bas à droitetempera sur papier33,5 x 44 cm. (13 3/8 x 17 5/16in.)Peint c.1931-36.signed in Greek lower righttempera on paperFootnotes:ExpositionsAthens, National Gallery - Alexandros Soutzos Museum, Diamantis Diamantopoulos, March 15 - April 23, 1978, no. 69 (catalogued, p. 33, and illustrated in the exhibition catalogue).Athens, The Academy of Athens, Diamantis Diamantopoulos, March 13 - April 6, 2001 (discussed).LittératureE.S. Stefanidis, Diamantis Diamantopoulos's Oeuvre and its Social and Aesthetic Context, doctoral dissertation, Athens 2003, vol.1, p. 264, no. 69 (catalogued), p. 152, no. 69 (illustrated).P. Kounenaki, Diamantopoulos, K. Adam editions, Athens 2005, p. 56 (illustrated).Diamantis Diamantopoulos, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 42 (illustrated).P. Rigopoulou, The Insane President and the Female Pleasure, Topos editions, Athens 2008, p. 467 (detail, illustrated).For further information on this lot please visit Bonhams.com
THEOFILOS HADJIMICHAEL (1871-1934)La déesse Déméter signé en grec et daté '1929' en haut, titré en grec en baspigments naturels sur textile77 x 64 cm. (30 5/16 x 25 9/16in.)signed in Greek and dated '1929' on the top; titled in Greek on the bottom natural pigments on textileFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 4 au 7 novembre 2024. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 4-7 November 2024. This work will be located in Athens during the auction.A point of reference for the most prominent Greek intellectuals of the 20th century who considered him an uncorrupted student of the senses, Theofilos ingeniously combined delicate drawing and a vibrant palette with a deep sense of mythology and history. 'His roots go way back to the ancient Aegean and it is this heritage that makes him paint in a distinctly Greek manner.'¹Ancient Greek subjects comprise a significant subset of Theofilos's iconography, with the artist having a clear preference for the Olympian gods, not as part of elaborate compositions but as single figures. Here, he shows the Goddess of Agriculture Demeter² handled with a set of pictorial conventions, such as the egg-shaped face, well-delineated features and full frontal posture, which are deeply rooted in Byzantine and folk tradition. The Goddess is holding her attributes, a sickle and a sheaf of corn, while the background is dominated by a grazing cow and the imposing flour milling facility of the historic Loulis firm in Volos. Every part of the picture is an integral part of the whole, evoking a sense of home and domesticity. Everything seems to grow right out of the landscape, allowing the painter to express an overall feeling based on pure vision and emanating from life itself.¹. A. Xydis, Proposals for the History of Modern Greek Art [in Greek], vol. 1, Athens 1976, pp. 36-38.². An Olympian goddess who sustained mankind with the earth's rich bounty, Demeter was also the founder of civic community, instructing mortals to pass from the nomadic to the agricultural stage by becoming attached to the land of their birth, learning the meaning of property, and growing accustomed to the conception of law. See K. Raleigh, The Gods of Olympos, London 1892, pp. 134-135.For further information on this lot please visit Bonhams.com
A DIAMOND SINGLE STONE RING AND DIAMOND SET BAND The brilliant cut diamond, weighing 1.01 carats, in a platinum eight claw mount, partial UK hallmark; together with a white gold band inset with brilliant cut diamonds, partial UK hallmark Size/dimensions: ring sizes K and L Gross weight: 9.4 gramsSingle stone ring offered for sale with a GIA Gem Trade Laboratory report, no. 10486472, dated 12th November 1998, stating: Clarity grade: Vs2 Colour Grade: F Fluorescence: Medium blue Condition Report: Gallery under diamond carved in on both sides by band worn next to it. Evidence of previous resizing to single stone ring and claws being replaced, yellow solder. One diamond in band cracked and would benefit from being replaced. Signs of regular wear, scratches, and scuffingCondition Report Disclaimer
A DIAMOND LINE NECKLACE Composed of a graduated row of brilliant cut diamonds, approximately 4.00 carats total, stamped 18K Size/dimensions: 42.0cm long Gross weight: 15.8 grams Condition Report: The diamonds are all present and correct, average estimated clarity I1, average estimated colour I-K. The clasp in good working order. No noticeable damage or repair. Condition Report Disclaimer
A DIAMOND THREE STONE RING Set with three graduated brilliant cut diamonds, centre weighing 1.79 carats, mounted in 18ct white gold, partial UK hallmark Size/dimensions: ring size P Gross weight: 7.8 grams Condition Report: The central diamond clarity I1, colour estimated I-J, a surface reaching inclusion to the girdle of the stone towards the centre, the side stones have some chips under the claws I1, colour estimated I-K range. The central diamond has some noticeable thinning to the claws, but they are still holding the stone, they would benefit from being retipped. The setting would benefit from being rhodium plated again as some slight gold tone is coming through on the claws and the back of the shank, some general wear and surface scratches. Condition Report Disclaimer
A DIAMOND AND 18CT GOLD BROOCH BIRMINGHAM 1988 Of undulating design, set with graduated old European and single cut diamonds, the principal diamond weighing 1.55 carats, partial UK hallmark, maker's mark GT&S Size/dimensions: 4.9cm long Gross weight: 5.3 grams Condition Report: Principal diamond was unmounted and weighed. Estimated colour J/K, estimated clarity Si1-2. Remaining diamonds a mixture of single and old cuts, some chips to girdles, average estimated clarity Si2-I1 I-K. Mount with some scratches and spots of tarnish. Overall in good conditionCondition Report Disclaimer
A DIAMOND LINE BRACELET Set with a continuous row of brilliant cut diamonds in three claw mounts, diamonds approximately 4.50 carats total, stamped 18k 750 Size/dimensions: 18.0cm long Gross weight: 7.6 grams Condition Report: Diamonds average estimated colour K-M (brownish tint), average estimated clarity Si1-I1. Some yellowing to mount in sections. Links near clasp somewhat bent.Signs of regular wearCondition Report Disclaimer
Abi-K- An embroidered handbag and pair of pink, black and cream cuffs in original boxes together with a hand-stitched hip-length kimono in purple and pinks, the cuffs "individually crafted using vintage Japanese kimono obi silk, premium nappa leather binding and high quality Italian hide leather with each wrist cuff being unique and no two are ever the same". Location:Condition:All items hardly worn, as new
A large Simon & Halbig/K&R 126 bisque head baby doll, German circa 1915, with brown glass eyes, open mouth, two upper teeth, and short brown wig, on a composition baby body with swivel wrists, wearing a later pink dress with lace, 25” (63cm) tall, (condition: eyes re-set, lacks one finger), together with another baby incised C.P, wearing a cream silk smocked dress and bonnet, (four fingers repaired), and another (A/F), (3 items).
A Kammer & Reinhardt 117 bisque head character doll, German circa 1910, with weighted blue glass eyes, painted and real lashes and brows, closed mouth, original brown wig with side ringlets, on a good fully jointed wood and composition body and wearing a cream silk dress with black coat, bonnet, underclothes, socks and shoes, incised K star R, Simon & Halbig, 117, 39, 15,” (39cm) tall, (condition: large area to back of head has been damaged and re-glued).
A bisque shoulder head doll, German circa 1900, with weighted blue glass eyes, painted lashes and brows, open mouth with moulded upper teeth and original blonde wig, fixed neck to kid leather body with composition lower arms and legs, wearing a cream ribbed cotton dress, underclothes, socks and brown leather shoes, 20” (51cm) tall, (condition: good, hands with a little wear), together with ‘Majestic’ 265 bisque head doll, possibly K&R, with original blonde wig, wearing a yellow smocked dress with hat and coat, and on a fully jointed wood and composition body, (in good condition), 16” (41cm) tall, (2 items).
A Kammer & Reinhardt 100 ‘Kaiser’ bisque head character baby doll, German circa 1909, with painted blue eyes, single stroke brows, open/closed mouth and painted hair, on a five piece composition baby body, wearing white knitted tights and cotton top, incised K star R, 100, 15” (38cm) tall, (condition: good).
A large DEP bisque head doll, German circa 1910, with weighted blue glass eyes, painted lashes and brows, open mouth, upper teeth, pierced ears and later blonde wig, on a fully jointed wood and composition K&R type body and wearing a red cotton dress with white pinafore, underclothes, socks and shoes, 29” (74cm) tall, (condition: teeth replaced, body probably not correct, hands rubbed).
An 18th century Sevres porcelain cabinet cup and saucer, the cup vignette with child musicians with piano, cello and violin, cobalt blue and gilt ground with jewelled swags and bands, similar saucer with scholarly artist and bust, titled Etudes Emie, dated 1781, dd date code and crossed swords marks in blue to both, above K, cup 7.5cm high, saucer 15.4cm diameter (2)
An early 20th century diamond solitaire, the round cut diamond within white metal illusion style setting, leading to plain polished yellow metal shank, stamped 'Plat 18ct' ring size K, 2gms, total diamond weight estimated 0.35ct Condition report: Ring would benefit from a clean. Diamond appears eye clean, bright and lively. x10 loupe shows minor inclusions towards the edges of the diamond. Minor split seen to the chenier to one side. Engraved to interior 'Marie from Dad Aug 1933'
An early 20th century untested emerald and diamond cluster ring, the central emerald cut emerald within a white metal milgrain setting edge and a surround of round cut diamonds, with white metal openwork under bezel leading to plain polished shank, unmarked, ring size K, 3gms, total untested emerald weight estimated 2.20ct Condition report: Please note, box is associated. Head of the ring 13.3mm long Untested emerald measurements - 9.1 x 7.6 x 4.3mm Untested emerald is a bright lively shade of green. Untested emerald is a little loose in setting. Inclusions can be seen with the naked eye, particularly to the top right hand corner of the stone (see image five) Inclusions mentioned above are surface reaching to table, but don't reach down to culet. Further inclusions seen to the untested emerald (under x10 loupe) Nibbles and abrasions seen to facets. Diamonds all present, and well matched in colour. Total diamond weight estimated 0.26ct Milgrain setting edge/and further edge shows minor wear. Underbezel shows wear and possibly splits/unfinished join Shank is thin, and shows resizing/repair area.
A bespoke untested aquamarine ring, the oval cut stone within yellow metal claw setting edge leading to plain polished shank, stamped '18k' ring size K, 3gms, total untested aquamarine weight estimated 1ct, within a Kandy jewellery box Condition report: Ring would benefit from a clean. Aquamarine shows inclusions under x10 loupe, particularly to the centre of the stone, but is clean to the naked eye. Minor nibbles to the girdle (seen under x10 loupe) Claws are all present.Under bezel is a little thin and unfinished in areas (minor) General scuffs, scratches and blemishes seen throughout the metal, commensurate with age and use.
Royal Air Force WW2 Pattern K Type Dinghy orange dinghy with printed instructions to the body. Front and rear, pull over canopy. Complete with alloy telescopic mast ... Red sail with printed instructions ... Pair of wooden paddles ... Yellow canvas paddle ... Orange rubber bailing cup ... 2 x pump bellows. Not guaranteed to inflate.
Small Selection Of Cloth Badges including embroidery Parachute qualification wing ... Bullion embroidery Royal Engineers flaming grenade beret badge ... 2 x embroidery 50th Inf Div formation ... 2 x embroidery 22nd Engineer Group formation ... Embroidery 17th Gurkha Div ... RAMC Staff collar tabs ... Embroidery RAMC rank pips . Together with WW1 Victory medal named "K-39188 A H England Sto.1.RN" .... Special Constabulary medal named " Thomas Pickering".
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