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Click here to subscribeAn aggregate of mixed jewellery items; to include a three-stone old-cut diamond ring in yellow metal stamped '18ct size K, with an estimated total weight of 0.48ct, a cultured pearl cluster ring in yellow metal testing 18ct size L, a peridot and diamond pendant in 9ct gold, a pair of amber stud earrings in 9ct gold, a Celtic brooch set with citrines, a shell cameo brooch, a cultured pearl necklace, and others.
A collection of jewellery items comprising diamond set earrings, pendants and rings; includes a sapphire and diamond pear halo ring set in white metal stamped '14k', size G with ring adjuster clip; a diamond cluster ring set in yellow and white metal marked '375', size M; a diamond cluster ring set in yellow and white metal marked '375', size P1/4; an 18ct white gold channel set seven stone diamond ring with a total carat weight of approximately 0.33ct; size K; three pairs of 9ct white gold diamond set oval hoop earrings; a diamond set dolphin pendant and chain in white metal marked '375'; four diamond set open heart pendants and chain set in yellow metal marked '375'; two 9ct yellow and white gold diamond set cross pendants on yellow metal chains marked '375'; four pairs of 9ct yellow gold diamond set open heart earrings; one pair of diamond set earrings in yellow metal marked '375' and a stainless steel diamond set ring, size S; total weight: 38.7 gramsBottom of shank is very thin on 18ct white gold channel set diamond ringSome earring backs missing
A collection of jewellery including a pendant and three rings; the pendant set with a garnet and seed pearls in a foliate design suspended within a circular border, marked '9ct' to the reverse, with a fine trace link chain measuring 45.5cm, a ruby and diamond cluster ring marked '18ct Plat', ring size O, a sapphire and seed pearl cluster ring with hallmarks for 9ct gold, ring size K 1/2, and a sapphire and CZ three stone ring with hallmarks for 9ct gold, ring size N 1/2. Total weight 7.6g (4)
A morganite and diamond halo ring, featuring a large pear-cut morganite in pinkish-orange colour, approximately measures 21.7 x 11.0 x 7.3, claw-set within a diamond-set surround and bifurcated shoulders, gallery laser-engraved with personal message, leading to a flat shank, pink metal unmarked, size K½, total weight of item 7.6 grams.
Tiffany & Co. - two ring bands; including a thick 'Donut' ring by Elsa Peretti, with a heavy court-shaped band in silver, signed and London hallmarked, 2008, size K, 9.6 grams; together with an '1837' ring, the 6.0 mm wide concave band etched with the signature 1837 and T & Co motif, signed and marked '750', size K½, weighs 7.5 grams. (2)
Three diamond rings, including a diamond half eternity ring set with round brilliant cut diamonds with a total estimated diamond weight of 0.40ct, the shank with hallmarks for 9ct gold, ring size L 1/2, a diamond cluster ring set with single-cut diamonds, with diamond set shoulders, with a total estimated diamond weight of 0.25ct, the shank with control marks for 9ct gold, ring size K, and a diamond cluster ring with diamond set foliate shoulders, with a total estimated diamond weight of 0.10ct, the shank with hallmarks for 9ct gold, ring size L. Total combined weight 5.8g (3)
Two sapphire and diamond dress rings in 18ct gold; the first consists of three circular-cut sapphires between diamond-set crossover shoulders, London import marks 1979, size M½; the other contains a square cluster centred with a diamond within a sapphire frame, London 1979, size K½; Total weight of items 9.8 grams. (2)
1941 Frankfurt am Main - 2005 Kandern. Zwei Vasen. Grauer Scherben. Auf Standring kugeliger, abgeflachter Korpus. Grüngraue Sprenkelglasur mit drei bewegten Formen auf der Wandung. Unter dem Boden Ritzsign. u. 1989 dat., Werkstattmarke K. Auf gelbem Klebeetikett Kerstan Keramik Kandern bez. H. 13 cm. Beiger Scherben. Auf ausgestelltem Standfuß abgeflachter, kugeliger Korpus, leicht eingezogene Schulter, halbkugelförmige Wölbung mit Mündungsrand. Rot gesprenkelte Glasur mit roter pastoser Überlaufglasur. Unter dem Boden Werkstattmarke K. H. 19 cm.
1941 Frankfurt am Main - 2005 Kandern. Enghalsväschen und Becher. Väschen mit unregelmäßig geformtem Mündungsrand. Temmoku-Schwarz glasiert. Unter dem Boden in schwarzer Pinselschrift sign. u. 68/B63 bez., gestempeltes Datum 1967. H. 13 cm. Becher. Kannellierter, vieleckiger Korpus. Temmoku-Schwarz glasiert, helle Kanten. Unter dem Boden braune Pinselsignatur u. 83(19) dat. Geritztes K. H. 11 cm.
Ovaler Stand mit vier ausgestellten Füßen. Birnförmiger Korpus, hoch angesetzte Handhabe mit schwarzen Dämmringen. Deckel an Scharnier, Schnabelausguss. Godronnierte Wandung mit reliefiertem Vegetabildekor. Feingehaltstempel Sterling, Stadtmarke Sheffield, Jahresbuchstabe k, wohl 1902, Meistermarke Walker & Hall. H. 24 cm. 556 g.
Spyros Vassiliou (Greek, 1902-1985)La place du marché signé en grec (en bas à gauche)huile sur panneau77 x 90cm (30 5/16 x 35 7/16in).Peint vers 1933-1934.signed in Greek (lower left)oil on panelFootnotes:ProvenanceXenia Kalogeropoulou collection, Athens. (from 1975) Nia Stratos collection, Athens. (from 1981)ExpositionsVenice, XIX Biennale, May 12 - October 12, 1934 (listed in the exhibition catalogue, no. 104, p. 348).Sofia, Preslav Gallery, Exposition du Groupe 'Techni', May 24 - June 10, 1936.Athens, National Gallery - Alexandros Soutzos Museum, Spyros Vassiliou, retrospective exhibition, October 22 - November 30, 1975, no. 91 (listed and illustrated in the exhibition catalogue).Athens, Dimitris Pierides Gallery of Modern Greek Art, Vassiliou's Athens, retrospective exhibition, April 10-20, 1984, no. 7 (listed in the exhibition catalogue).Athens, Agia Paraskevi Municipality Cultural Centre, Spyros Vassiliou – Hommage, November 1987 (illustrated in the exhibition catalogue). LittératureS. Vassiliou, Lights and Shadows, Athens, 1969, no. 23, p. 303 (listed), p. 37 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. IV, Melissa editions, Athens 1976, p. 48, fig.1 (illustrated).D. Papastamos, Painting 1930-40, Astir Insurance editions, Athens 1981, no. 134, p. 128 (listed), p. 124 (illustrated). H. Kambouridis, Spyros Vassiliou, Exhibitions, Ikaros editions, Athens 1982, pp. 33, 35, 179 (mentioned), p. 183 (illustrated).The Athenian magazine, no. 128, June 1984, p. 56 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, Rethymno 1996, vol. I, p. 316 (discussed), fig. 6 (illustrated). Dictionary of Greek Artists, vol. I, Melissa editions, Athens 1997, p. 158 (mentioned).C. Christou, Greek Painting in the Twentieth Century, vol. I, 1882-1992, Society for the Dissemination of Useful Books editions, Athens 2000, p. 242 (mentioned).I. Lakidou, Spyros Vassiliou, his Stage and Costume Design Contribution, Athens 2000, p. 9 (mentioned). Atelier Spyros Vassiliou, a Guide to the Museum, p. 15 (mentioned).Peristylon magazine, no. 7, June 2009, p. 7 (mentioned). K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. III, p. 485 (discussed), p. 692 (catalogued), vol. reproductions II, pl. CCLVII (illustrated).I. Orati, Spyros Vassiliou, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 24-28 (discussed), 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
Nikos Engonopoulos (Greek, 1907-1985)Hommage à Parthenis signé en grec et daté '67' (en bas à droite)huile sur toile55 x 46cm (21 5/8 x 18 1/8in).Peint en 1967.signed in Greek and dated ( lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 911, p. 353 (illustrated), p. 497-498 (catalogued), p. 498 (illustrated).I had the good fortune to apprenticeunder Constantinos Parthenis.Working with him I studied nature andgrasped the importance of line and colour.N. Engonopoulos1 An unconventional, modern-day Orpheus, with cool sunglasses and rock-star hairstyle in a dazzlingly yellow chlamys, plays his lyre standing between a tall building that echoes similar structures in works by C. Parthenis2 and a robust tree trunk that conveys an equally commanding presence. The scene is crowned by two Greek flags, fluttering in the morning breeze against a luminous sky, and a set of the artist's signature clouds3 traveling over a dazzling, enamel-blue sea. Orpheus, the archetype of the poet as liberator and creator, held a particular fascination for Engonopoulos, who depicted him many times over a period of more than thirty years, often adopting him as his own persona. Lean and elegant, he is reminiscent of the Minoans immortalised on the Knossos frescoes while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.4 Parhenis, the artist's revered teacher at the Athens School of Fine Arts, was extensively involved with the hero. Implementing unexpected juxtapositions and undermining accepted norms of narrative cohesion, the artist creates a dreamlike atmosphere, introducing the viewer to an enigmatic world of poetic metaphor. The coexistence of mythical past and modern reality sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's resolve to probe into the inner world of Greekness. He transports us from ancient/mythical times to the present say, using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration.5 This persistence on indigenous cultural experiences combined with a deep sense for history 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.'6 As perceptively noted by art historian N. Loizidi, 'Engonopoulos formulated a new mythology, giving us some imaginative and creatively unorthodox interpretations of Greek myths enriched by the 'objective humour' and method of irrational surrealist expression.'7 1 N. Engonopoulos, as quoted in Epitheorisi Technis magazine, March 1963, pp. 193-197.2 See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vo. 1, Athens 2002, p. 793 The travelling clouds seen through the rectangular opening on the background wall recall the verses from the artist's poem Orpheus: once - while the sun / was setting - / he noticed up in the sky's blue / enchanting oblong / clouds / - about which in Kavouri a gendarme / as if repentant once exclaimed: / 'lo and behold, Engonopoulos's clouds!' 4 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.5 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos publ., Athens 2006, p. 228. 6 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57.7 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 144.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 (Greek, 1916-2009)Printemps signé en grec et daté '64' (en bas à droite); signé et daté 'Yannis MORALIS/1963-65' (au revers)technique byzantine sur carton36 x 89cm (14 3/16 x 35 1/16in).Peint en 1964.signed in Greek and dated (lower right); signed and dated (on the reverse)egg tempera on cardboardFootnotes:ProvenanceThe artist's collection, Athens. D. Fotopoulos collection, Athens.Private collection, AthensExpositionsAthens, Benaki Museum, I.Moralis, Angels, Music, Poetry, October 24 - November 30, 2001, no. 152 (illustrated in the exhibition catalogue, pp. 124-125).Athens, Benaki Museum, The World of Dionyssis Fotopoulos, December 21, 2005 - March 19, 2006, no. 620 (illustrated in the exhibition catalogue, p. 334).Andros, Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, June 29 - September 28, 2008, no. 16 (catalogued, p. 233, discussed by the artist, p. 66, and illustrated in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Athens, Benaki Museum, Weavings. Painting and Tapestry in Greece from 1960 to the Present, November 21, 2019 - February 16, 2020 (illustrated in the exhibition catalogue, pp. 66, 164).LittératureV. Fotopoulos ed., Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 145, p. 145 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980s, no. GR TITSpit f636_40, p. 5 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 81 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 1, Athens 2000, p. 228 (mentioned). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, pp. 77-78 (discussed), p. 77 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, pp. 62-64 (discussed), p. 62 (illustrated).Lexi magazine, no. 200, April-June 2009, p. 269 (illustrated).Discussing this work, Moralis noted: 'It's the spring. It's this air one feels all around, which I experienced when going to the island of Aegina just before Easter, during Holy Week ... On the left is the church we'd go to, to listen to the twelve gospels, with the girl that stoops to kiss the bier of Christ.'1 Printemps revives the archetypal universe of an Ionian frieze. The architectural motifs that echo fragments of an ancient Greek temple or a neoclassical Athenian mansion, the shallow compositional depth, reminiscent of sculptural relief, and the austerity of the horizontal and vertical lines set up a perfectly balanced geometric edifice from which the human form emerges. The symbolic figure of the young woman, the loving embrace of the couple at the far right, the angel on the upper part, and the luminous patches of blue indicative of the sea and the clear skies, compose a symphony of poetic images, a universe of classical rhythm and human scale. Magnificent in its simple grandeur, this striking work echoes the timeless values of ancient Greek art.1 As quoted in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, 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
Constantinos Parthenis (Greek, 1878-1967)Pin signé 'C.Parthenis' (en bas à droite)huile sur toile54.5 x 60cm (21 7/16 x 23 5/8in).signed (lower right)oil on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zappeion Hall, Parthenis Exhibition, January-February 1920 (based on an exhibition photograph published in E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, p. 65).The music of colours, first introduced by Klimt,was taken up only by Parthenis among Greek artists. Pinakothiki journal, January 1904.1Parthenis was one of the first artists to infuse the forces of renewal in Modern Greek painting, distancing it from academic pictorial formulas and turning it towards liberal artistic movements and avant-garde trends. Reviewing the artist's legendary 1920 Parthenis retrospective at the Zappeion hall, Athens National Gallery Director Z. Papantoniou noted: 'Parthenis masterfully applies the innovative technique of 'optical mixture' in which pigments instead of being mixed on the palette are directly applied on the canvas to be mixed by the spectator's eye at a certain distance from the picture.'2 This pulsating pointillism is perfectly evident in Pine Tree, producing a shimmering effect and charging the picture with vibrant energy. Throughout, Parthenis used his distinctive parallel strokes and sharp vertical touches with great confidence and freedom to capture the power and variable pulse of the landscape. The viewer's eye follows the darting movements of his brush, as successive touches of colour are seized upon and added to the picture surface.Moreover, the elegant shapes, sinuous lines and wonderful rounded tree forms that instantly bring to mind the handling of foliage in his famous Slope at the National Gallery in Athens, show how the painter exploited the expressive nature of his formal repertoire to offer a poetic, idealised experience of the landscape. As noted by Z. Papantoniou, 'Parthenis's landscapes take us to the world of ideas. His eye sees into the ideal, as ours does into the natural. The humblest of his trees reveals a thought.'3 The work should be dated from the early 1900s, just before or after the artist's return to Athens following his seven-year stay (1897-1904) in Vienna.4 In this great centre of European modernism Parthenis became familiar with Viennese Jugendstil and especially the work of Gustave Klimt. The poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist5 (compare G. Klimt, Roses under trees, c. 1905, Musée d'Orsay, Paris). 1 See also E. Mathiopoulos, 'The reception of Parhtenis' Work' in Art Grows Feathers in Pain [in Greek], Potamos editions, Athens 2005, pp. 574-594. 2 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.3 Ibid.4 Compare C. Parthenis, Misty lake, sold by Bonhams, Greek Sale, May 15, 2007, lot 83.5 The square format Parthenis used here played a central role in Viennese Jugendstil and perfectly suited Klimt's search for peace and balance. It was also used by Monet to increase the feeling of tranquillity, and to direct attention on the orchestration of the colours and harmonies within the painting. See S. Koja, Gustave Klimt Landscapes, Prestel editions, New York 2006, p. 61.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 (Greek, 1916-2009)La Romance daté '2001' et signé en grec (en bas à droite); signé, situé, daté 'Yiannis Moralis/Athènes/Grèce/2001' (au revers)huile sur toile180 x 180cm (70 7/8 x 70 7/8in).Peint en 2001.dated and signed in Greek (lower right); signed, located and dated (on the reverse)oil on canvasFootnotes:ProvenanceZoumboulakis Galleries, Athens. Private collection, Zurich.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1-30, 2002, no. 11 (illustrated in the exhibition catalogue).LittératureY. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 115 (illustrated).Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 95 (illustrated).From the 1970s to the 21st century, Moralis had consistently adhered to the principles of geometric abstraction, exploring its mystical pathways and taking his place among its leading exponents.1 As noted by D. Papastamos, former Director of the National Gallery in Athens, 'this, more advanced stage of his geometric abstraction is distinguished by dynamic rhythm and expressive movement. It seems to me that these are the artist's happy moments, depicted in a beautiful environment of luminous colour and irresistibly erotic humanity.'2Highlighted by the poetry and eroticism of the curved line, La Romance 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 in the foreground—which ingeniously 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 Nobel laureate O. Elytis once said of Moralis's work, 'the body of a young girl emerges with the dampness of the sea, like a magnified fragment of an ancient Greek vase or a miniature fresco from a bygone place of worship.'3 By sacrificing all descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasising only the essential structural elements, Moralis expresses what is permanent and universal. The tone is set by gently flowing curvilinear themes underscored by an austere compositional grid of verticals and horizontals and complemented by the expressive sensibility of his palette. The engaging forms of his figures seem to have a light of their own, the same eternal light of Byzantine art which does not come from a specific source but emanates from within.4 1 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 30.2 D. Papastamos, 'Yannis Moralis the Artist', in Yannis Moralis, Commercial Bank of Greece, Athens 1988, p. 26.3 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 4 See M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Nu signé en grec et daté '41' (en bas à droite)huile sur toile100 x 120cm (39 3/8 x 47 1/4in).Peint en 1941.signed and dated (lower right)oil on canvasFootnotes:ProvenanceV. Embeirikos collection, Athens.Private collection, Athens.ExpositionsAthens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 13 (listed in the exhibition catalogue, p. 42).LittératureKathimerini newspaper, February 12, 1989 (illustrated).Sima magazine, no. 1, March-April 1991, p. 62 (listed with comment).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 297, p. 255 (illustrated), p. 423 (catalogued and illustrated).To Vima newspaper, October 21, 2007, p. A55 (illustrated).D. Connolly ed., Nikos Engonopoulos, The Beauty of a Greek, Ypsilon editions, Athens 2007, p. btw 64-65 (illustrated).Nikos Engonopoulos, exhibition catalogue, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Andros 2017, p/ 125, fn. 3 (mentioned).I love the bodies of women.With their breasts they eliminate our loneliness.Nikos Engonopoulos Always beautiful, seductive and full of life, the female form was a constant source of inspiration throughout Engonopoulos's career, a fundamental subject in both his painting and poetry. Here, set in a luminous interior against a typically Greek island townscape crowned by the unmistakably Engonopoulean formations of travelling clouds, a voluptuous female nude reclines languidly on a sofa holding a red bud in her left hand (Engonopoulos adored flowers and especially roses) and looking towards a still-life with luscious fruit that discreetly heightens the sensuality of the scene. 'I love the nude body more than the face' the artist noted in an interview. 'I love it because it is the chalice of life. As expressive as life is, even when tired. As sparkling as life is, when young.'1 Equally brilliant is the colour, a key element throughout Engonopoulos' career. Applied side by side, the enamel-like reds and blues invite the viewer to a festive ritual of pure colour. 'Engonopoulos is a wizard with colour, which he handles with conscious daring, unique aptitude and undisputed love.'2 As Errieti Engonopoulou, his daughter, notes, 'for him each colour has its own value, its own voice'3; much the same as in Byzantine art, which Engonopoulos always considered the art form Greeks most closely relate to.4 1 Apogevmatini newspaper, August 2, 1969.2 S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa publ., Athens 1974, p. 262.3 E. Engonopoulou, 'Freedom and Discipline' in Nikos Engonopoulos, The Painter and the Poe, [in Greek], Kathimerini newspaper, Epta Imeres, May 25, 1997, p. 23.4 See Epitheorisi Technis magazine, March 1963, no.99, pp. 193-197.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 (Greek, 1907-1985)Hommage à Greco signé et inscrit en grec (au revers)huile sur toile100.5 x 36cm (39 9/16 x 14 3/16in).Peint vers 1935-1937.signed and inscribed (on the reverse)oil on canvasFootnotes:ProvenancePrivate collection, Athens.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated).'As a former student of Parthenis, I was taught a theory 'tirée de Cezanne et du Gréco', and actually, when I was a student, I had copied—with such passion—many parts of his divine Concert of Angels.'N. Engonopoulos1 As noted by artist Argyris Stylianidis, who was a student of Parthenis at the Athens School of Fine Arts from 1930 to 1934, the master used to assign some of his students to copy El Greco paintings at the National Gallery in Athens.2 1 Letter to his wife-to-be Lena Tsiokou-Engonopoulou, September 11, 1959. See N. Engonopoulos, ...and I Love you Madly, Letters to Lena 1959-1967 [in Greek], Ikaros editions 1993/2007, p. 85. 2 Interview by E. Hamalidis, Kathimerini newspaper, July 27, 1997, p. 24. See also K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 409.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
Bost (Chrysanthos Bostantzoglou) (Greek, 1918-1995)'Grèce libre' titré en grec (en haut à gauche) et signé en grec (en bas à droite)huile sur toile60.5 x 80cm (23 13/16 x 31 1/2in).titled in Greek (upper left) and signed in Greek (lower right) oil on canvasFootnotes:LittératureK. Bostantzoglou ed., Bost, Stoa Theatre Company edition, Athens 1996, p. 223 (illustrated).Bost, 1999 Calendar (November), Ermis editions, Athens 1998 (illustrated).This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Alentours de l'Acropole signé et daté 'C. Parthenis 1909' (en bas à gauche)huile sur toile80 x 85cm (31 1/2 x 33 7/16in).Peint en 1909.signed and dated (lower left)oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner.ExpositionsParis, Galerie de la Boétie, Group Techni (Oeuvres d'un Groupe d'Artistes Héllènes), September 1-30, 1919, no. 98.Athens, Athens Technological Institute exhibition hall, Exhibition of Paintings by C. Parthenis, January 26 - February 9, 1966, no. 20 (listed in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Metamorphoses of the Modern, The Greek Experience, May 14 - September 13 1992, no. 6 (illustrated in the exhibition catalogue p. 33). Athens, National Gallery - Alexandros Soutzos Museum, Constantinos Parthenis, Painting an Ideal Greece , June 20, 2022 - April 9, 2023 (illustrated in the exhibition catalogue, p. 163). LittératureC. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963 (illustrated).Y. Tsarouchis, 'The Work of Parthenis', speech delivered at the Athens Technological Institute on February 2, 1966 (mentioned). Nea Estia magazine, no. 927, February 15, 1966, pp. 232, 268 (discussed).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).The Greek Painters, 20th Century, vol. II, Melissa editions, Athens 1975, pp. 19-20, 23 (discussed), p. 35, fig. 18 (illustrated).Xydis, Propositions for the History of Modern Greek Art, vol. I, Olkos editions, Athens 1976, pp. 75-76 (discussed).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, p. 363 (discussed).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 220 (mentioned).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, p. 110 (mentioned), p. 161 (listed).A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, pp. 59, 206 ft. ie (mentioned).Landscapes of Greece by Parthenis, 1984 Calendar / February, National Bank of Greece, Athens 1983 (illustrated).C. Christou, Konstantinos Parthenis, Vienna-Paris-Athens, (exhibition catalogue), Foundation for Hellenic Culture - Vienna Academy of Fine Arts, Athens 1995, pp. 23, 24 (mentioned).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, p. 829, ft.199 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 472 (mentioned).A. Kotidis, Constantinos Maleas, Adam editions, Athens 2000, p. 61 (mentioned).A. Kouria, Michalis Economou, Adam editions, Athens 2001, pp. 119, 126 fn.35 (discussed), p. 120 (illustrated).K. Perpinioti-Agazir, Le 'Groupe Tekhni', doctoral dissertation, Université Paris I - Panthéon Sorbonne 2002, vol. I, p. 178 (mentioned), vol. III, 674 (catalogued), vol. reproductions I, pl. LXXVII (illustrated).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 47-50, 97-99 (discussed), pp. 44-45, 46, 47 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 74, p. 66 (mentioned), p. 418 (catalogued), p. 163 (illustrated).Parthenis is not a painter who depicts nature.He is a painter who interprets nature. Z. Papantoniou1A Parthenis masterpiece, as iconic and breathtaking as Slope and the Port of Kalamata at the Athens National Gallery, Alentours de l'Acropole is a powerful landscape unleashed in paint. The creative force and freedom in the handling of colour finds its match in the boldness of execution, creating a pictorial formulation that lies at the core of his achievement as a painter. Setting his easel outdoors, Parthenis radically simplified nature to concentrate on chromatic and painterly matters. Rather than striving for topographical accuracy or resorting to the picturesque, he relied exclusively on purely pictorial means to capture the exuberance and zest of Attica's nature. Although he painted the view in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. The Parthenon, this classical masterpiece and symbol of everlasting value, blends in harmoniously with the violet luminosities and variable pulse of the surrounding landscape, underscoring its infinite and eternal nature. Parthenis treats the monument not as a lifeless relic of ancient glory but as a living organism; a form of eternity constantly reborn in the present. In his hands the Parthenon becomes a verse of lyric poetry. In such an evocative setting inhabited by dematerialised forms and charged with timeless references, painting is lifted to the realm of music, the most immaterial of all arts. Every part of the landscape is animated by colour and lit by grace, endowing the composition with an allegorical evocation, elegiac feel, and universal character. Land, monument and sky come together, with sharp outlines, bold colouring, and cooler and warmer tones producing a rhythmic outcome. To make such an irresistibly beautiful and at the same time well-formulated picture, Parthenis drew from the colour expressionism of the fauves and Cezanne's use of paint as a structural element. While the work of Cezanne taught him compositional discipline, Gauguin and the Pont-Aven School encouraged him to focus on the expressive use of line and elevate the horizon, extending the pictorial surface to the limits of the canvas without the illusion of receding space. Much like the post-impressionists, Parthenis was interested not only in delivering a fabric of brushstrokes and colour marks but also in weaving together light and structure in a unified pictorial experience.Suffused with eternal light, Alentours de l'Acropole transcends the fleeting sensations of the impressionist glance to remould the luminous landscape by means of pure colour's suggestive force. The artist's perceptive handling of the natural environment, combined with a poetic interpretation of visual reality come together in a work of great artistic sensitivity, poetic charm and spiritual uplift. This seminal work claims the eye and provokes the viewer's emotional participation, reflecting the vision of an artist loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century.2 1 Z. Papantoniou, Valkanikos Tahydromos newspaper, May 11, 1920.2 See D. Papastamos, Painting 1930-1940, Astir Insurance edition, Athens, 1981, p. 68.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
A 9ct yellow gold signet ring, the oval panel initialled, size L 1/2 together with another 9ct gold signet ring with an initialled shield shaped panel, size K, approximately 2 grams, a yellow metal signet ring with a vacant panel, size R 1/2, approximately 3.5 grams and a 9ct gold ring with a pointed oval opal panel, size M 1/2 approximately 2 grams
A SWISS GOLD BOX AND COVER, DARIER & GALOPIN, GENEVA, CIRCA 1810 circular, with waved engine-turning within foliate borders on sablé grounds, cover and base with maker's marks DG in a lozenge, Prestige marks of a leaf, and '18.K', base numbered 1024 and to the rim with a French provincial cock's head petite garantie mark (1809-1819), 5.5cm diameter, 48g
A Flintlock Tinderlighter, And Four Brass-Mounted Three-Way Powder-Flasks For Percussion PistolsAll 19th CenturyThe first of box-lock pistol form with brass action, tall oval pan, rectangular brass tinderbox with hinged cover on one side with brass catch, steel trigger-guard, brass candle-holder and pierced bipod, and figured flat-sided butt; the second comprising one with copper body of oval section embossed with two vertical lines of beadwork, circular cover over the ball compartment embossed with a shell, and the base with threaded circular cover over the compartment for wads and caps; another of similar form; another, smaller; and another of shouldered form, with pivoting circular cover over the compartments for balls and caps, each cover embossed with a stylised flower-head; together with a steel bullet mould, a French powder-measure, a modern lead ladle, and a K. Steggles brass bore measure (all the flasks polished bright) (9) The first 16.4 cm. Footnotes:ProvenanceThe David Woodman CollectionFor further information on this lot please visit Bonhams.com
A selection of jewellery, including a yellow gold 22ct wedding band, stamped London 1940, ring size K, a diamond set ring, stamped '18ct' (at fault) ring size L, a carnelian set dress ring, in yellow metal set to associated shank, stamped '9c' ring size H and an engraved circular pendant, stamped '9ct' gross weight 7gms (4)
A selection of three dress rings, including a 9ct red stone set cluster ring, the nine round cut stones within flowerhead design, ring size R, with a yellow metal green and white paste set cluster ring, indistinctly stamped, ring size P, and a paste set eternity ring, ring size K, gross weight 6gms (3)
An Italian made Bruni S.R.L. PPK Police blank firing pistol marked Police kal 8mm K made in Italy. 12 x 16cm. In original box with instructions, and cleaning brush. Box 12.5 x 15.5cm. PLEASE NOTE This item is being sold in the UK and you need to be aware of local laws and shipping requirements. *CR Apparently working, not tested, in good condition.
Reference books - sewing, a useful selection, comprising - Sullivan (K), Needlework Tools and Accessories, 2004 d.w. / Cummins and Taunton (N.D.), Chatelaines, 1994 d.w. / Taunton (N), Antique Needlework Tools, 1997 d.w. / Holmes (E.F.), A History of Thimbles, 1985, d.w. / Rogers (G.A.), An Illustrated History of Needlework Tools, 1983 d.w. / Whiting (G), Old Time Tools and Toys of Needlework, Dover reprint 1971, soft cover / Arbittier and Morphy (J+J), Collecting Figural Tape Measures, 1995, soft cover / Zalkin (E), Thimbles, 1988 / McConnel (B), The Story of Antique Needlework Tools, 1999, d.w. / Ditto, The Letts Guide to Collecting Thimbles, 1991, d.w. / Thompson (H.L.), Sewing Tools and Trinkets, n.d. / Cummins (G), Antique Boxes, Inside and Out, 2006, d.w. / and two others. (14)
MIXED, complete & part sets, inc. complete (1), Carreras Christie Comedy Girls; rest mainly Gallaher, Army Badges, Champions, Butterflies And Moths, Portraits Of Famous Stars, Film Partners, The Navy, Film Episodes; Ogdens, Prominent Racehorses Of 1933, The Story Of Sand; DC Thomson Photographic Footballers (70), K size etc., P to VG, Qty.
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