We found 307192 price guide item(s) matching your search
There are 307192 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
307192 item(s)/page
Lot 41
Nikos Engonopoulos (Greek, 1907-1985)Scholiastes d'un texte futur / Composition a la lampe signé en grec (en bas à droite)huile sur toile92 x 73cm (36 1/4 x 28 3/4in).Peint en 1958.signed in Greek (lower right)oil on canvasFootnotes:ProvenanceThe artist's collection, Athens and thence by descent to the present owner.ExposéAthens, Zappeion Hall, VII Panhellenic Exhibition, April 21 - June 1, 1963, no. 156 (listed in the exhibition catalogue).Athens, Nees Morfes Gallery, Art Transformations, December 1979 (illustrated in the exhibition catalogue, p. 15).Athens, National Gallery - Alexandros Soutzos Museum, Nikos Engonopoulos retrospective, April 3-15, 1983, no. 37 (listed in the exhibition catalogue, p. 42).Thessaloniki, Municipal Gallery, Nikos Engonopoulos, As Handsome as a Greek, 1997, no. B3.Athens, Astrolavos Gallery, Nikos Engonopoulos, Surrealist Whispers, October 24 - November 29, 2002, no. 7. LittératureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (mentioned), p. 284 (illustrated).B. Spiliadi, Visual Remouldings, exhibition catalogue, Nees Morfes Gallery, December 1979, p. 15 (illustrated).Athens News newspaper, November 4, 1985 (illustrated).Athinorama magazine, November 7, 1985, p. 67 (illustrated).Eleftherotypia newspaper, November 1, 1985 (illustrated).Tachydromos magazine, no. 1644, November 14, 1985, p. 145 (illustrated).Nikos Engonopoulos, Drawings and Colours, Ypsilon Books editions, Athens 1996, p. 138 (illustrated).Politis magazine, December 15, 2002, p. 8 (illustrated). D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, fig. 80 (illustrated).E. Benisi, Nikos Engonopoulos and Cityscapes, doctoral dissertation, University of Athens, 2006, pp. 138, 140, 161, 163 (mentioned), p. 140a, fig. 98 (illustrated).D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets, Gutenberg editions, Athens 2007, p. 118 (mentioned). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 600, p. 92 (illustrated), p. 459 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, p. 436 (discussed), p. 437, fig. 168 (illustrated).K magazine, no. 13-14, June 2007 (cover illustration).Bathed in an atmosphere of clarity and glow, this exquisite painting is recognised by Melissa editions The Greek Painters as one of the finest examples of the artist's mastery of colour.1 The glittery yellow, green and orange tunics worn by the three figures and the enamel-like blues and reds of the background, applied side by side on the canvas without tonal gradations, invite the viewer to a festive ritual. 'Engonopoulos is a dedicated coloriste, adhering to a long and rich Greek tradition that goes way back to the Homeric epics.'2 Errieti Engonopoulou, the artist's daughter, holds that 'for him each colour has its own value, its own voice'3, much the same way as in Byzantine art, which Engonopoulos always considered an art form Greeks closely relate to. The three phantom-like mannequin figures holding a lamp, a book and a statuette, introduce us to an enigmatic world of poetic metaphor, apparently glorifying an unknown heroic or epic event that echoes the didactic description of Byzantine icon painting and the high rhetoric of the artist's beloved teacher C. Parthenis.4 Elegant, athletic and full of youthful virility, the three scholiasts chant the glory and beauty of the human figure. As noted by Athens National Gallery Director M. Lambraki-Plaka, 'Engonopoulos's figures may draw their origin from Giorgio de Chirico but they are unmistakably Greek, reminiscent of the Minoans immortalised 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.'5 Likewise, Professor D. Papastamos notes that 'Engonopoulos's heroes are not 'disquieted'; on the contrary they fully experience an everyday reality still bound with tradition and eastern myths.'6 The visual act takes place in shallow, stage-like indoor space, accentuating the sense of theatricality which is a key element of Engonopoulos's work. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.7 'The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale is a typically Greek element. Standing in front of a fastened curtain and illuminated by a circular glow reminiscent of a theatrical spotlight, the three protagonists of this 1958 scene recall a text by Engonopoulos written a few years later: 'The curtain is drawn, and under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'8 1 S. Boulanikian, 'Nikos Engonopoulos' [in Greek] in The Greek Painters, vol. 2, 20th Century, Melissa editions, Athens 1975, p. 262.2 Nikos Engonopoulos, Drawing or Colour [in Greek], Ikaros editions, 2007, p. 126. 3 E. Engonopoulou, 'Freedom and Discipline' [in Greek] in Nikos Engonopoulos, The Painter and the Poet, Kathimerini newspaper (Epta Imeres), 25.5.1997, p. 23.4 A reference to future text annotations was made by Engonopoulos in his poem 'In the Lyrical Chimneys', The Clavichords of Silence, 1939. See D. Menti, Faces and Facades, Literary Identity Interpretations in Modern Greek Poets [in Greek], Gutenberg editions, Athens 2007, p. 118. 5 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.6 D. Papastamos, preface to the exhibition catalogue of Nikos Engonopoulos retrospective [in Greek], National Gallery-A. Soutzos Museum, Athens 1983, p. 8.7 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A. Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.8 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.Baignée dans une atmosphère de clarté et de lueurs éclatantes, cette exquise peinture est reconnue dans l'ouvrage The Greek Painters (publié par les éditions Melissa) comme l'un des plus beaux exemples attestant de la parfaite maîtrise de la couleur qui caractérise l'artiste. Les tuniques jaunes, vertes et orange scintillantes des trois personnages et les bleus et rouges de l'arrière-plan, comme laqués, peints touche par touche sur la toile sans gradations tonales, invitent le spectateur à un rituel festif. Engonopoulos est un coloriste passionné, qui adhère à une longue et riche tradition grecque remontant à l'épopée homérique. Errieti Engonopoulou, fille de l'artiste, confie que pour lui chaque couleur a sa propre valeur, sa propre voix, ce qui rejoint l'art byzantin qu'Engonopoulos a toujours considéré comme une forme d'art indissociable des Grecs. Les trois personnages fantomatiques, tenant une lampe, un livre et une statuette, nous introduisent dans un monde énigmatique de métaphore poétique, glorifiant apparemment un événement héroïque ou épique faisant écho à la description didactique de la peinture des icônes byzantines et à la rhétorique exigeante du maître bien-aimé de l'artiste, C. Parthenis. Élégants, athlétiques et pleins de virilité juvénile, les... For further information on this lot please visit Bonhams.com
Lot 255
A JAVANESE BRONZE FIGURE OF A KINNARA, INDONESIA, 8TH/9TH CENTURY with winged legs, a further wing emerging from his back, with outstretched arms, wearing earrings, necklace and tall headdress, mounted 14cm high Provenance: Collection of a late diplomat, thence by descent Kinnaras are celestial deities, part human, part bird, particularly popular in Buddhist South-East Asian art. Along with their female equivalents, kinnaris, they are particularly associated with music. This figure was probably part of a hanging lamp. For a bronze lamp with kinnari figure, see A. J. Bernet-Kempers, "Ancient Indonesian Art", Harvard 1959, pl.115. For a similarly contorted flying Garuda figure from Blora, Central Java, also probably from a lamp, see Jan Fontein, "The Sculpture of Indonesia", Washington 1990, p.249, no.81.
Lot 316
Large late Victorian silver encased table lamp in Adam style, the sloped square loaded base with foliate beaded and reed and tie decoration, the concave sided tapering square stem with bell flower, cartouche and ribbon garland embossing, urn shaped top, overall height including metal fitting, 59cm tall, Sheffield 1900 by The Goldsmiths and Silversmiths Company
Lot 2314
A PAIR OF CHINESE FAMILLE VERTE AND POWDER BLUE-GROUND 'FIGURAL' VASES 19TH CENTURY Each decorated with two panels depicting figures in a garden, amidst pine trees and craggy rocks, on a gilt decorated blue-ground, interspersed with floral sprays, butterflies and precious objects, and a simulated brocade sash to the neck, each mounted as a table lamp, 43cm, (74cm overall). (2) Provenance: from a private Cornish country estate.
Lot 503
Group of piecesChinese and Japaneseto include a Chinese cylindrical jar and cover painted with lotus, lilies and ducks, 20cm high, a green Chinese lamp base, 30cm, two Chinese bowls and a pair of Japanese Fukagawa blue ground jardinieres, 15.5cm high (6)Condition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 64
Celadon bottle vase Chinese,18th/19th Centurydecorated in white slip depicting a flowering tree growing from a rocky outcrop, base with underglaze blue Zhuanshu seal mark, but drilled, 55cm highCondition report: Mark drilled as for a lamp, some firing dots and imperfections and surface hair crack to side.
Loading...-
307192 item(s)/page