* Roussel (Theodore, 1847-1926). French-born English Painter and Graphic Artist. An autograph autobiographical account of his own life, circa 1920, describing his artistic beginnings and later professional life from his birth up until at the mid-1880s, with references to his picture The Reading Girl [1886] and ending with the sentence 'It is through one of those exhibitions I was speaking above, at the Dowdeswell, that in the later part of the winter of 1885 I have known Whistler', written with numerous crossings out and corrections in his hand on rectos of 10 leaves with concluding page in pencil on verso of final leaf, together with a separate one-page start of an autobiographical account from when he came to England [1878], 'forty-five years ago', this leaf browned, all 4to, together with an unsigned pen and ink sketch of trees, 6 x 14.5 cm, and a pen and ink sketch of a man in a kilt (?), 12 x 9.5 cm, both attributed to Roussel; plus a small thumbnail pencil study of a woman's head on a plain postcard, initialled by Roussel, 'Th R'; plus an etching of a Breton woman, 9 x 7 cm, with signed presentation inscription from W. Lee Hankey to lower margin; plus an autograph letter signed from Roussel, St. Leonard's on Sea, 11 September 1919, to Annie [his sister?], 3 pp., 4to, plus 3 small photographs of Roussel, including 2 identified as with [Agnes] Ethel, circa 1920, each 10 x 6 cm; plus a manuscript draft of Roussel's will from 1924 in an unidentified hand, a solicitor's letter concerning Roussel's affairs after his death addressed to A[gnes] E. McKay, an invoice from James J. Brett for a monument erected in Crowhurst Churchyard to the memory of the late Theodore Roussel, made out to Miss [Agnes Ethel] McKay, 25 May 1927, 2 receipt letters from the British Museum to Miss [Marion] Melville and Miss Agnes McKay for the gifting of 70 proofs of etchings by Theodore Roussel, 23 March 1927, a certified copy of Ethel Roussel's death certificate, 30 March 1917 and a Goupil & Co. Catalogue of Colour Etchings by Roussel, July 1899, with some manuscript price insertions, 8voQty: (16)NOTESProvenance: Acquired from the sale of the estate of Marion Melville (1903-). Marion was the daughter of the artist Arthur Melville (1855-1904) and Ethel Constance Melville (died 1917). Theodore Roussel had first married Frances Amelia Smithson Bull but after her death he married Melville's widow Ethel in 1914. Marion was therefore Roussel's step-daughter. Roussel also had a daughter, Ivy (born c. 1900), with his mistress Hetty Pettigrew. Agnes Ethel Mackay (1889-1980) was a poet and critic by vocation. She was the niece of Roussel’s second wife, Ethel, and cousin to Marion Melville. After Ethel’s death, Agnes moved to St Leonards-on-Sea to take charge of the household, which comprised Roussel and the 13-year-old Marion Melville. Agnes acted as studio assistant and companion to Roussel until his death in 1926. She then moved with Marion to Upper Cheyne Row, London, and then to France in 1937. An interesting and apparently unpublished account of the early part of Roussel's artistic life up until his significant first meeting with Whistler. A transcript of the autobiographical text is available on request.
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Gentlemen's 1952 traditional Highland Dress comprising of kilt, black jacket,and waistcoat by Meyer & Mortimer. A pair of Church shoes, Austin Reed dress shirt, white waistcoat front and some white collars. One other kilt and a leather sporan by Anderson & Co.Condition report: No Sizes given on Jacket, waistcoat and Kilt. Shirt 14 1/2, White half waistcoat 36, Shoes Church's 9 1/2.Some moth holes to back of woman's long skirt.
A VICTORIAN SILVER HARDSTONE SET KILT/CLOAK PIN the silver pin in the form of a dagger set with round cut quartz stone to a banded agate body, the Celtic design silver mount with hinged pin to reverse, unmarked, assessed as silver Condition Report : good, wear and tear only Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Six Scottish brooches, comprising a silver and Scottish agate oblong brooch, c1900., Scottish silver and smokey quartz Celtic crystal brooch., a Cairngorm and citrine dirk brooch, silver plated., a Edinburgh silver Celtic Arts broadsword kilt pin brooch, a silver anchor brooch set with agate, and an agate pebble brooch.
18th century overdress for evening or promenade, 1770's, in brocaded ivory silk lined with fine linen. The dress has a close fitting stayed bodice, pocket holes, a slight train and 3 pairs of internal ties that form 'pick ups' to kilt up the skirt and create shortening, giving a puff effect (sometimes referred to as 'a la Polonaise'), which would reveal the under skirt. Waist approx 60cm/24"The garment is entirely hand stitched with finely worked gathers at the waist to give a sculpted shape. The silk fabric is medium weight with delicate stripes of tiny shapes woven with pink and green flushing warp threads. The weave has a further decorative effect with flower motifs woven through the weft. This skilled brocading technique suggests the fabric was made either in France or under the French influence of the Spitalfields silk industry. The fabric integrity is surprisingly good with a few splits but no major evidence of shattering. Staining in several areas including bottom part of sleeves and lower hem. Perspiration marks to underarms. Photos show dress with added pink underskirt and green front panel for display purposes. Green panel is placed where dress bodice sections should meet and overlap.
Assorted modern costume including Burberrys checked wool kilt and similar skirt, a pair of Aquascutum checked shorts, Jaeger checked wool a-line skirt, navy leather handbag, pair of Bally white court shoes (size 5.5), Burberry checked shoulder bag, Hidesign leather briefcase, etc (one box). Slight wear overall to the costume and shoes. Clothes possibly size 12/14. Blue bag very worn overall. Burberry bag - very little wear, but sticky inside the pockets of the bag.
ROYAL WORCESTER; two figures emblematic of countries modelled by James Hadley, comprising Scotland, shape number 914, height 15.5cm, and Ireland, shape number 835, height 17cm, each simply with gilt highlights against a white ground.Additional InformationThe figure emblematic of Scotland with rubbing to the gilding particularly to the front of the coat and around the knees of the kilt, a slight glaze chip to the back left corner, and a chip or manufacturing imperfection to the middle section of the coat at the back, the figure emblematic of Ireland with rubbing to the gilt detailing here and there throughout, the gilt detailing is somewhat green in appearance in areas, the figure is restored to both lapels and possibly to the neck
A group of various silver, white metal, and costume jewellery items, to include three Scottish silver kilt pins, a semi-precious agate and silver bracelet, three Scottish agate brooches, various silver and white metal brooches, a white metal articulated bracelet with engraved clasp, a silver and hardstone bangle, a carved carnelian necklace, an amber style beaded necklace, a coral necklace, etc.
Advertising, Breweriana, Mackinlay's - a rubberoid 'back of bar' statuette, modelled as a seated gentleman in typical Scottish dress including kilt and sporran, his hand holding a crook, "Mackinlay's Scotch Whisky" in raised lettering to base edge, impressed signature "Mac" to the reverse, 17cm high
A rare Harwin World War One felt Ally Scottish infantryman, with black boot button eyes, painted ginger hair, eyebrows and mouth, large nosed, jointed limbs, integral khaki felt jacket and undershorts, oil-cloth boots, khaki felt spats, tartan socks and kilt, balding sporran and a matched Glengarry —14in. (36cm.) high (small repair to chest) - from the private collection of Sue Pearson
A Yoruba equestrian figure Nigeria brass, the horseman wearing a conical headdress with busts and gourds, a textured tunic and kilt and a bell hung on his chest, holding a sword in his right hand and the reins in his left, his feet in stirrups, early 20th century, 22cm high. Provenance Ex collection T H W Nevins. Sotheby's, London, 8 July 1969, lot 230. Private Collection, London.
Scots Guards Officers Cloak Chains, gilt metal examples in the form of Regimental star with linked chain and four lug fittings to the reverse of each badge. Accompanied by a crudely made Scots Guards kilt pin and a pair of cloak chains with white metal thistles to the centre of each. (3 items) *This item has been imported from outside the EU, VAT on Imported items at a preferential rate of 5% on Hammer Price.
Late New Kingdom, 1292-1069 BC. A carved granite fragment depicting a seated male figure, possibly an official, wearing a kilt, arms resting on his lap; with inscription to the reverse pillar beginning 'an offering for…'; the remainder garbled, and the whole possibly a later addition, with old inked collector's number '44' below.2.6 kg, 14cm (5 1/2"). From the private collection of a New York collector; part of his family collection since at least the early 1970s; thence by descent from his grandfather in 1975. [No Reserve] A video of this lot is available to view at TimeLine Auctions website. Fair condition.
New Kingdom, 1550-1070 BC. A carved wood figure modelled as a striding noble with detachable arms; the shaven head and face naturalistically modelled, detailing to the bare torso, wearing a shin-length kilt; accompanied by a custom-made mounting block.Cf. D'Auria, S., Lacovara, P. and Roherig, C.H., Mummies and Magic: the Funerary Arts of Ancient Egypt, Boston, 1988, p.115, fig.70.480 grams total, 33cm including stand (13"). Property of a Hertfordshire, UK, gentleman; acquired from a North London gallery; previously on the London art market; formerly in the collection of Egyptologist Surgeon Commander Dr P. H. K. Gray RN; acquired 1960s and subsequently sold from the collection; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10678-174914.This statue is exceptionally well modelled. From the striding position of the legs it is possible to conclude that it represents an offering bearer and perhaps was part of a procession. The sculptor's finesse is readily apparent in the facial style and proportions, as well as in the carving style. A video of this lot is available to view at TimeLine Auctions website. Fine condition.
2nd-3rd century AD. A substantial bronze figurine, finely modelled as the god Mars, bearded and clothed in a military tunic and muscled cuirass; the right arm raised and the left draped with a military cloak, held down at the side; the now lost right hand may have once held a spear and the left hand was originally placed upon a circular shield; wearing a tipped-back Corinthian helmet with a large crest; detailed facial features, the eyes forming pointed ovals with distinct pupils, the nose flat and the lips full; the cloak wrapped around the body with deeply moulded folds; the muscled cuirass decorated with opposed gryphons, fitted with shoulder clasps and worn over a padded under-armour garment (subarmalis) from which finely moulded detailed lappets (pteryges) hang, at the waist a double row of hanging cymation; below the cuirass a short, vertically segmented kilt over the skirt (????) of the tunic; the legs dressed in greaves with moulded lacing to the back; the underside of the feet with remains of pins which may have held the figurine to a base.See Robinson, R., The Armour of the imperial Rome, New York, 1975; D'Amato, R. and Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.312, p.223; Durham, E., Depicting the Gods: Metal Figurines in Roman Britain, Internet Archaeology, 2012.Searcher and Treasure Hunting magazines, the articles appearing in early 2020.230 grams, 12.6cm (5"). Found by Geoffrey Harfleet with the use of a metal detector on Thursday 26th December 2019, near Oxshott, Elmbridge, Surrey, UK; this is a find of note and has been designated of national importance by the Portable Antiquities Scheme; accompanied by a copy of PAS report number SUR-1C1A4E and a copy of an academic report by military specialist Dr Raffaele D'Amato.According to Durham (2012), this mature, bearded style is a less common depiction of this deity, paralleled by examples from Bury St Edmunds (in Ipswich museum, ISPMG 1936-244.10) and Wycomb in Gloucestershire. The Lares were guardian deities in ancient Roman religion; they protected worshippers and affected the outcome of events in their own location. The true altar of the Lares was the domestic fireplace, centre of the Roman domus, and their temple the Atrium. Among the statuettes of gods Mars Gradivus was one of the most appreciated, especially in the families of military commanders in provinces such as Britannia. The statuette had its prototype in the famous statue of Mars from the Forum of Nerva, of late 1st century AD, today at the Capitoline Museum in Rome, based on a Greek original from the 4th century BC. A video of this lot is available to view at TimeLine Auctions website. Fine condition, light abrasion from the burial conditions but otherwise the figurine is well preserved.
Theofilos Hadjimichael (Greek, 1871-1934)Le héros intrépide Katsantonis titré en grec (en haut à droite) pigments naturels sur panneau 74.5 x 30cm (29 5/16 x 11 13/16in).titled in Greek (upper right) natural pigments on woodFootnotes:ExposéAthens, Hellenic-American Union, Exhibition of Works by the Painter Theofilos, February 7-26, 1964, no. 26 (listed in the exhibition catalogue).Athens, Ethousa Technis Athinon, Theofilos, May 12-31, 1975, no. 21 (listed in the exhibition catalogue).LittératureElefthera Grammata magazine, no. 63, March 25, 1947, p. 88 (illustrated).Epitheorisi Technis magazine, no. 16, April 1956 (illustrated on the front cover).Theofilos file, T. Spiteris Archive, Tellogleion Art Institute, c. 1960s, no. 177 (illustrated). Y. Tsarouchis, ed., Theofilos, Commercial Bank of Greece editions, Athens 1966, no. 56 (illustrated).C. Michiotis, Our Greece, Kastalia editions, Athens 1966, p. 441 (illustrated).E. Petropoulos, Rembetika Songs, Athens 1968, p. 415/20 (illustrated).Istoria magazine, no. 72, June 1974, p. 4, detail (illustrated).G. Petris, The Painter Theofilos, Exandas editions, Athens 1978, p. 47 (discussed), no. 21 (illustrated).Lexi magazine, no. 172, November-December 2002, p. 922 (discussed).D. Stamelos, Katsantonis, Estia editions, Athens 2004 [1980], p. 297, f.n. 4 (mentioned), p. 303 (illustrated).S. Sorogas, Aesthetic Geography, Stigmi editions, Athens 2006, p. 77 (discussed).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 106 (illustrated).E. Diamantopoulou, Theofilos in Mt. Pelion, Alexandria editions, Athens 2007, p. 229, no. 9 (listed).Magnisia magazine, no. 11, November 2008, p. 19, no. 10 (listed). E. Plessa, ed., The Work and Wonderful Days of Philippos Koutsinas, Athens 2013, pp. 101, 163 (illustrated).*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'Athens Preview, du 5 au 9 mai 2021. 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, 5-9 May 2021. This work will be located in Athens during the auctionDisplaying Theofilos's fascination with the history and legend of the 1821 uprising, this captivating work, which pays homage to one of the great figures of pre-revolutionary Greece, featured as a cover illustration in the April 1956 issue of the influential Epitheorisi Technis art review. The artist Sotiris Sorogas recalls: 'I first saw a painting by Theofilos on the cover of an Epitheorisi Technis journal, during the first years of my studies, that is before 1960. It was hero Katsantonis with a musket on his fustanella kilt, holding a small pandouris, a string instrument almost identical to a modern day baglamas.'1The legendary klepht Katsantonis (1873/5-1807/8), who was a constant source of inspiration throughout the artist's career, is portrayed at a moment of leisure, possibly after a victorious battle, playing his beloved pandouris in an unspoiled natural environment, possibly the ravine on Mt. Tzoumerka where according to local lore he defeated the troops of Velingekas, Ali Pasha's henchman.The intrepid hero, whose depiction is a synthesis of diverse sources, is identified as such not only by the inscription on the upper right but also by pictorial means: he is handsome, sporting a large moustache, a flintlock musket (kariofili) resting on his lap. For Theofilos, a true Katsantonis is unthinkable without his ubiquitous kariofili and his signature fustanella kilt, the same highland garb as the painter himself wore when he left Smyrna for Athens to voluntarily enlist to fight in the 1897 war against Turkey.1 S. Sorogas, 'On Theofilos', Lexi magazine, no. 172, November-December 2002, p. 922.Témoignant de la fascination de Theofilos pour l'histoire et la légende de la révolte de 1821, cette œuvre captivante, qui rend hommage à l'une des grandes figures de la Grèce prérévolutionnaire, a illustré la couverture du numéro d'avril 1956 de la revue artistique Epitheorisi Technis. L'artiste Sotiris Sorogas rappelle : « J'ai vu pour la première fois une œuvre de Theofilos sur la couverture de la revue Epitheorisi Technis, au début de mes études, c'est-à-dire avant 1960. Elle représentait le héros Katsantonis portant un mousquet sur sa fustanelle et tenant un petit pandouris, qui est un instrument à cordes pratiquement identique au baglamas de l'époque moderne ».1Le héros intrépide Katsantonis (1873/5-1807/8), qui a été une source constante d'inspiration pendant toute la carrière de l'artiste, est représenté ici pendant un moment de détente, probablement après une bataille victorieuse, jouant de son cher pandouris dans une nature intacte, probablement le ravin du Mont Tzoumerka où, selon la tradition locale, il a défait les troupes de Velingekas, homme de main d'Ali Pasha.Le héros intrépide, dont le portrait est la synthèse de sources diverses, est identifié comme tel non seulement par l'inscription qui figure en haut et à droite, mais également par des moyens picturaux : il est beau, arbore une grande moustache, et tient un mousquet à silex (kariofili) sur son genou. Pour Theofilos, il est impensable de représenter le vrai Katsantonis sans son éternel kariofili et sa fustanelle, le même type de kilt que celui que le peintre portait lui-même lorsqu'il a quitté Smyrne pour Athènes afin de s'enrôler volontairement pour combattre dans la guerre de 1897 contre la Turquie.For further information on this lot please visit Bonhams.com
Nikos Engonopoulos (Greek, 1907-1985)Sur la guerre d' Indépendance (Paysage orphique) huile sur toile120 x 100cm (47 1/4 x 39 3/8in).Peint en 1939oil on canvasFootnotes:ProvenanceThe artist's collection.Private collection, Athens. ExposéAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Biennale, June 19 - October 17, 1954, no. 12, under the title Paesaggio Orfico con Eroi (listed in the exhibition catalogue, p. 295).Athens, Institut Francais d'Athènes, Nikos Engonopoulos, Peintre et Poète, Huiles, Tempera et Livres, November 13-28, 1987, no. 7 (illustrated in the exhibition catalogue).Athens, Astrolavos Gallery, N. Engonopoulos, Mythology, Byzantium, Revolution, March 16 - April 3, 1999, no. 3 (illustrated in the exhibition catalogue, fig. 1).Thessaloniki, Macedonian Museum of Contemporary Art, Place: Engonopoulos, May 18 - July 29, 2007 (illustrated in the exhibition catalogue, p. 13).Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, Nikos Engonopoulos, June 25 - October 1, 2017 (illustrated in the exhibition catalogue, p. 62).LittératureChartis magazine, no. 25-26, November 1988, p. 162 (illustrated).Ta Nea tis Technis, no. 34, 1995, p. 20 (discussed and illustrated).R. Zamarou, The Poet Nikos Engonopoulos, a Visit of Places and Figures, Kardamitsa editions, Athens 1996, p. 139 (mentioned).Nikos Engonopoulos, The Angels in Heaven Speak Greek, Interviews, Comments and Opinions, Ypsilon editions, Athens 1999, p. 64a (illustrated).Athens News, March 25, 1999 (illustrated).The National Herald (New York), March 27-28, 1999 (illustrated).Eleftherotypia newspaper, December 19, 1999 (illustrated).M. Ioannidou, The Theoretical Conditions and the First Phase of Surrealism in Greek Painting, Doctoral dissertation, Thessaloniki 2000, pp. 145-147 (discussed), no. 34 (illustrated).N. Andrikopoulou, Tracing Nikos Engonopoulos, Potamos editions, Athens 2003, p. 59 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 258, p. 128 (illustrated), p. 249 (illustrated), 418 (illustrated).N. Engonopoulos, Love is the Only Way, National Book Centre of Greece, Athens 2007, p. 38 (illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, no. 186, pp. 471-472 (discussed), p. 473 (illustrated).Culture magazine, no. 11, March 22-23, 2008 (illustrated on the front cover).O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, Nefeli editions, Athens 2009, p. 323-324 (discussed), no. 4 (illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, November 23-24, 2007, Benaki Museum, Athens 2010, pp. 94, 96, 98 (discussed), no. 28 (illustrated).K. Voulgaris, Kolokotronis has the Beauty of a Greek, Vivliorama editions, Athens 2020, pp. 50-54 (discussed), p. 53 (illustrated). 'For Engonopoulos, the 1821 uprising was a celebration, a feast, an outburst, like nature's explosion in early spring.'1A tour de force inspired by the Greek Revolution and War of Independence, this emblematic Engonopoulos is a leading example of the artist's fervently sought after pre-war period. Using an avant-garde surrealist vocabulary and at the same time deeply rooted in Greekness, Sur la Guerre d'Indépendance (Paysage Orphique) was exhibited in the 1954 Venice Biennale, where, for the first time, Greece was represented by one artist alone. There, Engonopoulos 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 central theme of Surrealism. Using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in both miniature manuscripts and narthex decoration, Engonopoulos transports the viewer from ancient to modern times, staging a dream-like scene from the treasure trove of Greek history. The coexistence of ancient past (exemplified mainly by the lyre-holding Orpheus2 with the Minotaur head), recent history (illustrated by the hero of the Greek War of Independence in his traditional fustanella kilt) and modern reality (captured in such apt details as the round coffee shop table on the left, the still life with fruit in the foreground and the striped beach cabin in the distance) sets forth the main aesthetic and ideological preoccupations of the 1930s generation and faithfully reflects the artist's attitude towards painting, both as a long and rich tradition to draw from, as well as an ideal vehicle to probe into the inner world of Greekness. Discussing Composition (Sur la Guerre d' Indépendance), art historian O. Tachopoulou notes: 'The picture shows a Minotaur/warrior, who is also a musician, holding with one hand a lyre while with the other seems to exhort a Greek warrior to make a triumphant gesture by waving a horse head. The modelling of the minotaur-like face with two geometric volumes—a recurrent convention in Engonopoulos's pictorial output—alludes to the artistic symbolism of the Minotaur motif that has nothing to do with feelings of fear or animosity. Instead, the artist uses the image of the Minotaur as a symbol of the subconscious, much the same way the surrealists used it before transforming it into a scary figure following the devastating experience of World War II.'3This persistence on indigenous cultural experiences combined with a deep sense for the historical past 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.'4 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'his figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalized on the Knossos frescoes and the early kouroi, while alluding to the tall and slender formula of the Byzantine saints also evident in El Greco's work.'51 Professor S. Rozanis as quoted in 'This is how Engonopoulos Saw 1821' [in Greek], O Kosmos tou Ependyti newspaper, March 21, 1999.2 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. 3 O. Tachopoulou, Modernist Primitivism, Surrealist Versions in the Poetic Work of Nikos Engonopoulos, [in Greek], Nefeli editions, Athens 2009, pp. 323-324.4 N. Loizidi, 'The Indigenous Surrealism of Nikos Engonopoulos' [in Greek], To Vima daily - Nees Epoches, October 21, 2007, p. A57.5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.«Pour Engonopoulos, la révolte de 1821 a été une célébration, une fête, une éruption, comme l'explosion de la nature au début du printemps.»Véritable tour de force inspiré par la Révolution grecque et la Guerre d'Indépendance, cette œuvre emblématique d'Engonopoulos est un exemple phare des œuvres les plus recherchées de l'artiste datant de l'avant-guerre, et est également profondément ancrée dans la « Grecité ». Sur la Guerre d'Indépendance (Paysage Orphique) a été exposé à la Biennale de Venise en 1954, ... 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
Nicholas (Pavlopoulos) (Greek, 1909-1990)Chargez inscription (sur la base) bronze43 x 39 x 17 cm(16 15/16 x 15 3/8in x 6 11/16in).inscribed (on the base)Footnotes:ExposéAthens, Zappeion Hall, Exhibition of the Military History of Greeks, April 28 - October 30, 1968 (discussed, p. illustrated in the exhibition catalogue, vol. II, p. 524).Athens, Athinaiki Leschi, Balkan Wars, 30 October 2002.LittératureThe Sculpture of Nicholas, S.I. Tziropoulos editions, Athens 1962, p. 53 (illustrated).Athenian Club invitation diptych, October 2006 (illustrated on the cover).Rooted in the epic of the 1821 uprising and engraved in the Greek soul as a mythical figure and national symbol, the evzone1 took part in all national campaigns for independence and freedom. Here, portrayed in his signature kilt-like fustanella highland garb, Nicholas's charging evzone captures Greece's heroic and glorious stand against the fascist invasion in 1940-1941. 1 Select light-infantry and mountain units of the Greek Army.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
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