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Click here to subscribeART DECO GILT SPELTER FIGURAL TABLE LAMP,modelled as a kneeling dancer with one arm upstretched, on tapered alabaster base, the opaque ice glass shade with smoky inclusions, 42cm high overallCondition good to fair. Light age related wear to gippfigure and base. Doesn't turn on, so will need rewired. Large hairline to shade. Additional images now available.
STARBAY ROSEWOOD PAIR OF CAMPAIGN STYLE BEDSIDE CABINETS,with brass fittings, 49cm high, 45cm wide, 38cm deepCondition good to fair. Both with light paint residue. The top drawers sit quite awkwardly in the hole, image to illustrate. The first with a scratch to the back. many further images now available.
MICHAEL HARRIS (BRITISH, 1933-1994) FOR MDINA, GLASS ONION VASE,circa 1974, in swirled and mottled turquoise and yellow tones, engraved marks, signature and date to base, 26cm highThere is a strange black line to the lower body which seems to be internal, otherwise light general surface wear but no visible damage, additional images available including signature
RENÉ LALIQUE (FRENCH, 1860-1945), LIEVRES OPALESCENT GLASS VASE,the design introduced in 1923, moulded, stained and frosted with trailing ferns and central band of running hares, engraved R. Lalique, France signature, and No. 942 to base, 16cm highRim chipped in two places, images available, otherwise light general surface wear and dirt, extensive rubbing to the blue colouring
DAUM FRÈRES NANCY, ART NOUVEAU CAMEO GLASS GRAPE AND VINE VASE,circa 1900-14, cased and cut with trailing fruiting vines, and applied relief detail in enamels, signed Daum Nancy to lower body, 25cm highCondition generally good. Some light surface wear to base. Small manufacturing imperfections including pin pricks. Would benefit from an interior clean. Additional images now available.
HENRI BERGE (FRENCH 1868-1936) & AMALRIC WALTER (FRENCH 1870–1959), PATE-DE-VERRE THISTLE VASE,circa 1920, of conical tapered form, relief moulded with thistles, signed A. WALTER NANCY and BERGE Sc, inscribed Made in France to base, 10cm highSome tiny flea bites to rim, some pitting and pockmarks to body as a result of manufacture, otherwise some light general wear but no major issues to note, additional images available
HENRI BERGE (FRENCH 1868-1936) & AMALRIC WALTER (FRENCH 1870–1959), PATE-DE-VERRE ABIELLE VASE,circa 1920, relief moulded with bees amongst branches, graduated green to blue ground, signed A. WALTER NANCY and BERGE Sc towards base, 14cm highSome tiny flea bites to rim, body and foot but no visible chips, cracks or other notable issues; some inconsistencies in finish towards foot presumably from manufacture, light general wear; additional images available
GABRIEL ARGY-ROUSSEAU (FRENCH 1885-1953), PATE-DE-VERRE THREE-HANDLED VASE,circa 1923-29, foliate relief moulded in blue and teal against a speckled ground, signed G. ARGY-ROUSSEAU towards base, 10.2cm highThere is a surface hairline to the exterior which runs vertically and can be felt with a fingernail but does not run through the body, this may be from production, image provided; otherwise some tiny flea bites to rim, one small nick to foot, light general surface wear but no other chips or visible issues to note; the vase is also numbered 5955
HENRI BERGE (FRENCH 1868-1936) & AMALRIC WALTER (FRENCH 1870–1959), PATE-DE-VERRE PAPERWEIGHT,modelled as a rabbit, signed A. WALTER NANCY and BERGE, 7cm high, 7.5cm longThe very tip of the raised ear is very slightly sharp but no visible damage, there is a depression to the side of the base beneath the signature, some further small depressions, general light pitting and other expected surface wear but no visible issues to note, additional images available
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS VASE,of slender bottle form, cased and cut with trailing foliage on a graduated purple ground, signed Gallé towards base, 21.6cm highCondition good to fair. Sharpness towards the rim suggests this piece has been ground down, as well as a minor nibble to inside rim. The body and base with light age related wear. Additional images now available.
DAUM FRÈRES NANCY, RARE CAMEO AND ENAMELLED GLASS SWAN VASE,circa 1900, square section, the mottled glass overlaid and acid-etched with two swans swimming on a pond and further detail of trees, signed DAUM ☨ NANCY AL, 12.2cm highThere is a very small chip to one corner of rim but this has not affected the enamelled area, some very minor flea bites around the rim also; there is a very small area to the base of one of the enamelled leaf section where there might have been a small loss, image provided; there is a depression to the base which has been polished, either present from manufacture or an historic chip which has been treated, image provided; otherwise light general surface wear and light dirt but no other visible issues. This is an authentic, Art Nouveau period example. Additional images available
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS DRAGONFLY VASE,of bottle form, cased and cut with a dragonfly above lily pond, against a graduated pale blue ground, signed Gallé to body, 16.7cm highIn good condition, there are a few very small light surface scratches only evident upon very close inspection to body, very light general surface wear but no chips or other notable damage
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS PLUM VASE,of compressed conical form, cased and cut with plums on blossoming branches in blue, against a yellow ground, signed Gallé to body, 11.3cm highCondition generally good. Light age related wear and manufacturing flaws. Some surface wear and scratches visible to lower section of body, one section in particular. Additional images now available.
DAUM FRÈRES NANCY, ART NOUVEAU PATE-DE-VERRE MARGUERITE VASE,circa 1900, cameo cut and enamelled with flowers, buds and leaves, signed DAUM ☨ NANCY to body, 8cm highSome tiny nicks and nibbles to rim interior, light general surface wear commensurate with age and material but effectively good condition with no major issues to note
GABRIEL ARGY-ROUSSEAU (FRENCH 1885-1953), PATE-DE-VERRE VASE,circa 1923-29, of tapered form, the shoulders with masks amongst trails of ivy, against a mottled yellow ground, signed G. ARGY-ROUSSEAU to body, 9.9cm highCondition generally good. Light wear to base, also atrial residue (what appears to be remnants of blue tac perhaps). Would benefit from light clean to the interior.
FRANÇOIS-EMILE DÉCORCHEMONT (FRENCH 1880-1971), PATE-DE-VERRE DRAGONFLY CENTREPIECE,circa 1920, hexagonal form, moulded with a dragonfly against a graduated blue ground, stamped DÉCORCHEMONT mark to side, 13.5cm wideVery small chip to one corner of base, some small nicks to rim, further surface pockmarks and light general wear including some scuffs and marks due to the softer nature of the material but no major chips, cracks or other notable issues , additional images including mark available
JULES SARLANDIE FOR LIMOGES, ENAMELLED VASEdecorated with a maiden and spaniel in woodland, lake and mountain landscape, signed J Sarlandie Limoges, 20.3cm highSome very small nicks to the enamel where it meets the rim, a small likely repaired chipmtompartbofnthe signature, further wear around the foot, otherwise light general surface wear but no other major issues to note, additional images available
MURANO SOMMERSO GLASS VASE,of triangular form, with everted rim, in blue and purple tones, 35.5cm high, along with another glass vase, in white and pink, 20cm high (2)Taller vase with some inclusions and other manufacturing imperfections, some light surface scratches, both with further general light wear but no visible chips or cracks
Schachfiguren. Amerika. Schachspiel aus Marmor und Stein mit dazugehörigem Brett aus Marmor. Die eine Partei aus weißbraunem Marmor, die andere aus schwarzem Stein. Arbeit aus dem Ende des 20. Jahrhunderts. Höhe: König 7,5 cm; Bauer 4 cm. Größe Brett: 25,5 x 25,5 cm. (22)* Reizvolles komplettes Schachspiel aus Marmor und Stein, das nach stilisierten indianischen Motiven gearbeitet ist. Die Rückseite ist nicht bearbeitet. Das Brett hat einem Kreis mit Verzierung nach indianischen Motiven. Zustand: Mit kleineren materialbedingten Benutzungsspuren, Fehlstellen und Defekten. Beiliegt: Griechenland. Schachfiguren aus Metall - Figuren aus der griechischen Mythologie. Beide Parteien gleich, eine Partei ist silberfarben, die andere bronzefarben. Produktion der Firma Forma aus der zweiten Hälfte des 20. Jahrhunderts. Höhe König 5,2 cm; Bauer 4,0 cm. Komplettes Metallschachspiel. Die Figuren haben geringe Benutzungsspuren. / America. Chess set made of marble and stone with chessboard made of marble. One side of white-brown marble, the other of black stone. Produced at the end of 20th century. King 7,5 cm high; pawn 4 cm high. Board size: 25,5 x 25,5 cm. Complete set of marble and stone chess, according to stylized Native American motifs. With minor chips and damages. / Greece. Metal chess set - Greek mythological figures in historic style. Both sides identical, one side stained light silver, the other light bronze. Produced of Forma in the second part of the 20th century. King 5,2 cm high, pawn 4,0 cm. Complete metal chess set. With minor chips and damages.
Spyros Papaloukas (Greek, 1892-1957)Vue de Karyes, Mont Athos signé en grec (en bas à droite)huile sur carton47 x 41.5cm (18 1/2 x 16 5/16in).Peint en 1923.signed in Greek (lower right) oil on cardFootnotes:ProvenanceEstate of the artist.Private collection, Athens.LittératureSpyros Papaloukas, Sojourn in Mount Athos, Agra editions, Mount Athos 2003, no. 17, p. 85 (illustrated).'Up there, in Mt. Athos, I clearly saw that art in all its great manifestations through the ages has always been about form and colour.'Spyros Papaloukas1Papaloukas's exquisite output during his one-year sojourn in Mt. Athos (1923-1924), which established him as a leading exponent of plein-air painting, is a key chapter in the development of early 20th century Greek art, providing daring answers to some of the period's foremost issues concerning cultural identity.2Here, he treated his subject by fusing the rich Byzantine tradition with the doctrines of modern art. As if he were making a Byzantine mosaic, he emphasized the flatness of the surface and endeavoured to liberate colour from its obligation to describe reality, a perception which was also of pivotal importance to the art of the Nabis, Cezanne and the early 20th c. cubist experiments. Moreover, as the schematic undulations of the landscape ascend, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth.Bathed in diffused light and dominated by soft tonalities without intense gradations, the monastic compounds almost lose their structural integrity. Dematerialized, they no longer represent a specific place but seem to reflect the infinite from whence ideal forms originate. As noted by the late Director of the Athens National Gallery M. Lambraki-Plaka, Papaloukas's expertly trained eye reveals the 'eternal becoming' of the world.3 1 As quoted by S. Doukas, Zygos magazine no. 31, May-June 1958, p. 8.2. See A. Kouria, 'Spyros Papaloukas's Athos' in Spyros Papaloukas, Sojourn in Mount Athos [in Greek], Agra editions - Mount Athos 2003, p. 22. 3 See M. Lambraki-Plaka, 'Papaloukas' Painting' in Spyros Papaloukas, Painting 1892-1957 [in Greek], Athens 1995, pp. 33-48.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)Irô et Leandros signé en grec et daté '53' (en bas à gauche)huile sur toile65 x 55.5cm (25 9/16 x 21 7/8in).Peint en 1953. signed in Greek and dated (lower left)oil on canvasFootnotes:ProvenanceGift of the artist in 1954 to Demetrios and Niki Andrikopoulos and hence by descent to the present owner.LittératureK. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 474, p. 156 (illustrated), p. 282 (illustrated), p. 444 (catalogued and illustrated).A magician whose creative imagination followed the footsteps of gods and heroes, Engonopoulos couldn't but be fascinated by the love story of Iro and Leandros.According to the Hellenistic myth, Iro, a beautiful young girl from Sestos dedicated by her parents to Aphrodite's service, lived in an isolated tower by the shores of the Hellespont. The maiden's beauty increased with the years and the fame of her loveliness passed over the straits and reached Abydos, hometown of the brave and handsome Leandros. Eventually the two youths met at a solemn festival in honour of the goddess, fell in love, and Leandros vowed to swim to Iro's sea-girt tower when the shades of night had fallen. To guide him safely across the straits she would light a lamp and hold it aloft. And so, the secret lovers maintained their passion through many summer nights. But when winter came and the sea grew stormy, they should have refrained from lighting the lamp. Yet, love and destiny compelled them, and the fatal night arrived. Leandros struggled with the waves but his strength failed him—and Iro's lamp was blown out by the wind. When the grey morning dawned over the tossing sea, Iro saw him lying dead at the foot of the tower. Devastated, she threw herself into the waves and perished by her lover's side.1The story of Iro and Leandros is found in folk tales and love lyrics across Europe and beyond. It is also depicted on Pompeiian frescoes, on a mosaic and a relief found in Tunisia, and on coins of Abydos and Sestos, the towns at the beginning and end of Leandros's legendary journey. Centuries later, in 1810, Lord Byron, inspired by the story, achieved the hero's feat of swimming across the Hellespont. Three years later, he wrote the following lines from his The Bride of Abydos:'The winds are high on Helle's wave,As on that night of stormy waterWhen Love, who sent, forgot to saveThe young, the beautiful, the braveThe lonely hope of Sestos' daughter.'2Engonopoulos portrays the couple's encounter at Iro's stonewall tower by the sea.3 Leandros, waded knee deep into the wavy waters of Hellespont in a full body bathing suit, reaches towards his naked lover—in a manner highly reminiscent of Theofilos's representations of Erotocritos reaching the balcony of his beloved Aretousa—while the lamp,4 which is the confidant of their secret loving, presides over the scene. Drawn from the treasury of Greek mythology, this artistic vision faithfully reflects Engonopoulos's attitude towards painting as an ideal vehicle to probe into the world of Greekness. As noted by theatre director and playwright Alexis Solomos, 'Engonopoulos can merge symbols of different origin and character, yet what is more astonishing with him is the all-prevailing spirit of Greece in his work. Every point of the universe, every moment in history is detached, through a magic power, from its geographical or historical setting and made to contribute to the predominant idea of the artist's own land.'5 As noted by the late 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.'6 1 See M. Grant, Myths of the Greeks and the Romans, Mentor editions, New York, 1962, pp. 373-378; H.A. Guerber, The Myths of Greece and Rome, London, 1921, pp. 89-94. See also K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, p. 98. 2 Lord Byron, The Bride of Abydos, Canto the Second, I, 483-487.3 Compare Iro and Leandros, 1980.4 The lamp is a distinct and recurring theme in Engonopoulos's work with symbolic overtones (compare Hora ruit, 1939, Iro,1957, and Scholiasts of a future text, 1958 (sold by Bonhams, Greek Sale 24.11.21, lot 41).5 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.6 M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.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
Alecos Fassianos (Greek, 1935-2022)La photo oubliée signé 'A. Fassianos' (en haut à gauche); signé, titré et daté 'A. Fassianos/La photo oubliée 1975' (au revers)huile sur toile174 x 229.5cm (68 1/2 x 90 3/8in). signed (upper left); signed, titled and dated (on the reverse)oil on canvasFootnotes:ExpositionIolas Gallery, Paris.LittératureS. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. 4, Melissa editions, Athens 1976, p. 455, no.5 (illustrated).Sima magazine, no. 21, January-February 1978, p. 32 (illustrated).Fassianos, Kedros editions, Athens 1980, pp. 105 (listed), p. 98 (shown in a photograph of the Iolas Gallery in Paris), p. 92-93 (illustrated).P. Cabanne, D.T. Analis, Fassianos, Éditions de la Differénce, Paris 2003, pp. 88-89 (illustrated).E. Hamalidi ed., Contemporary Greek Artists, Melissa Publishing House, Athens 2004, p. 65 (illustrated).An emblematic Fassianos from his so called 'painterly' period of the mid-1970s1, this striking canvas shows the artist at his mature best, painting with an extraordinary combination of control and freedom. Vibrant, brilliantly coloured and dynamically balanced, it amply demonstrates the qualities that established his international standing as a master of contemporary figuration.As noted by Jean-Marie Drot, former Director of the French Academy in Rome, Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 'We are the same with the ancients' says the artist 'because we bathe in the same waters, we see the same hills, the same light that has always been there. This is Greekness.'3.By rejecting the illusionistic representation of space, insisting on flat areas of undifferentiated colour and adhering to the flatness of the canvas, Fassianos is reckoned as worthily carrying on the artistic legacy of Theofilos's naivete and the stylistic principles of the legendary 1930s generation. 1 'After 1973-74, Fassianos's 'painterly' works, i.e., those in which colour is the dominant element, are either flat or with some depth, depending on the light source. When the light comes from behind the object, its outline is sharper and it looks flatter.' E. Agathonikou in Fassianos, 45 Years of Creation, S. G. Zachariades Collection, exhibition catalogue, Municipality of Rhodes Modern Greek Art Museum, 2009, p. 24. 2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82. 3 As quoted in B. Kalamaras, 'Bicycling Forever' [in Greek], Eleftherotypia daily, April 21, 2004.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 (Greek, 1871-1934)La bataille de Kalambaka inscrit en grec (en haut et en bas)pigments naturels sur zinc51 x 71.5cm (20 1/16 x 28 1/8in).inscribed in Greek (on the upper and lower part) natural pigments on zincFootnotes:*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 8 au 11 novembre 2022. Cette Å“uvre 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, 8-11 November 2022. This work will be located in Athens during the auction.ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. Acquired from the above collection by the present owner. ExpositionsMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 17 (listed in the exhibition catalogue).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 2 (listed in the exhibition catalogue). LittératureT. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, July 1955, no. 5 (listed).Anti magazine, vol. 2, no. 20, May 31, 1975 (discussed, p. 48 and illustrated, p. 49). Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 298 (illustrated).E. Papazachariou, The Other Theofilos, Kaktos editions, Athens 1997, pp. 126-127 (discussed).Tony Spiteris Archive, Tellogleion Art Institute, Photographs of Works by Theofilos Hadjimichael, p. 7, no. GR TITSpit 101102_148.'When I saw the Takis Eleftheriadis1 collection of Theofilos paintings hanging in his ample home in Petra, Mytilene, I was left with the impression that every single one of them was first rate.'2 - Odysseus Elytis'Just look at these Meteora, painted on a sheet of zinc, with their warm pinks and light blues giving shape to the rocks, with the dark blues of the uniforms animating the Battle of Kalambaka—a highly sophisticated harmony in two colours with just a few touches of red at the tip of the rocks and the Turkish garb'.3 - Alexandros XydisCrowned by the otherworldly rocky outcrops and majestic byzantine monasteries of Meteora, and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and General Ioannis Makriyannis, the painting displays a battle scene between a Greek military unit formation on the left, led by a moustached officer on horseback, and a batch of Turkish troops on the right.Based on the artist's lengthy inscription that frames the composition, the picture shows the victorious Battle of Kalambaka in which the Greeks, led by chieftains Christodoulos Hadjipetros and Nikolaos Leotsakos, defeated a force of Turks and Arabs in 1854. The fact that the horse rider on the left, sporting a large moustache and raising his sword, may be identified with Colonel Constantinos Smolenskis, the legendary hero of the 1897 Greek-Turkish war, shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. His subject is treated more as a backdrop, allowing him to express his fascination with the idea of gallantry and heroic achievement without having to succumb to historical accuracy.History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by the wealth of costumes, shinning flintlock muskets, fiery red fezzes and dazzling white fustanella kilts, the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign and which eventually became his signature attribute. Possibly, the Greek pallikare at the centre of the composition4 is a self-portrait since he holds the flag with his left hand.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The wealth of detail is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of bravery and legend they are invited to contemplate. Moreover, the linear arrangement, the symmetry and rhythm of the composition and the impression of an immutable reality, take us further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics -where all parts are generally set side by side in a paratactical presentation. All phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present.6 As noted by critic and writer Ronald Crichton, 'Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history.'7 1 'A citizen of Mytilene, Mr. Eleftheriadis, father of the Parisian art critic and publisher Teriade, took a liking for Theofilos's work and company and introduced him to his son and to a small circle of writers and art lovers in the town. Theofilos was encouraged to come to Eleftheriadis's house in the olive groves on the slopes above the town, to paint and to talk.' R. Crichton, 'Theofilos' Orpheus, vol. 2, London 1949, p. 156.2 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 56.3.A. Xydis, 'Fine Arts Chronicle', Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48.4 The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting. See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.5 See E. Papazachariou, The Other Theofilos [in Greek], Athens 1997, p. 127.6 See H. Kambouridis - G. Levounis, Modern Greek Art - The 20th Century, Athens 1999, p. 43.7 Crichton, p. 151.For further information on this lot please visit Bonhams.com
Yiannis Spyropoulos (Greek, 1912-1990)Mycenean citadel B signé en grec (en bas à droite)huile sur toile contrecollé sur panneau162 x 97cm (63 3/4 x 38 3/16in).Peint en 1959.signed in Greek (lower right) oil on canvas laid on boardFootnotes:ProvenanceAcquired directly from the artist.Cl. West collection, USA.Bonhams London, The Greek Sale, 25 November 2014, lot 54. Acquired from the above sale by the present owner.LiteratureC. Christou, Yannis Spyropoulos, Athens 1962, pp. 144, 148 (discussed), p. 117 (illustrated).Athenian newspaper clip, 1962 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 417 (referred).Y. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral dissertation, Athens 1994, no. 480, p. 156 (referred), p. 283 (listed).Yannis Spyropoulos, Ta Nea editions, Athens 2006, p. 65 (referred).Y. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 480, 370 (listed), p. 220 (illustrated).A powerful mixture of simplicity and sophistication and a wise conciliation between gestural brushwork and sturdy compositional structure, this captivating work offers a commanding display of technical discipline and intuitive expression. Planes, surfaces and textures are meticulously analysed by dark structural outlines, while intense counterbalancing forces and energetic shapes are articulated into a serene and robust geometrical structure set in motion by circular gestural marks that endow the composition with an improvised yet coherent inner rhythm.1 'The Greek scenery with its architecture of masonry fences, arches, courtyards and dry stone walls, observed from afar as outlined geometrical shapes, constituted the onset of visual stimulation before becoming a painterly proposal.'2This beautiful canvas also reflects Spyropoulos' deep interest in Byzantine art. Professor C. Christou notes: 'The golden-yellow colour that comes to dominate the work of Spyropoulos by 1960 and which in essence reflects nothing more than the presence of sunlight, or rather Greek light, is something he finds around and within himself, in the past from which he hails and the present where he belongs. It reveals the influence of the Byzantine icon painting he grew up with and his familiarity with the Greek light under which he lives, while at the same time his work expresses the intricate nature of modern artistic creation.'3Yiannis Spyropoulos was the first Greek painter who, while residing permanently in Greece, managed to attain an illustrious international career, highlighted by his participation in the 1960 Venice Biennale, where he was awarded the UNESCO prize. His works, which represent the most advanced and mature aspect of Greek abstraction, have been included in prestigious private collections around the globe and exhibited at important European and American museums of modern art.41 See E. Ferentinou, 'Jannis Spyropoulos' [in Greek], Zygos magazine, no.32, July 1958, p. 18.2 L. Tsikouta, 'Processes, Influences, Assimilations, Personal Idiom, Birth of an Artwork: The Case of Jannis Spyropoulos' in Jannis Spyropoulos, The Classicist of Abstraction, exhibition catalogue, National Gallery – A. Soutzos Museum, Athens 1995, p. 141.3 C. Christou, Jannis Spyropoulos [in Greek], Athens 1962, p. 158.4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Athens 1999, pp. 156-158.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
Georgios Bouzianis (Greek, 1885-1959)Femme nue au chapeau rouge signé 'Busiany' (en bas à gauche); signé et daté 'Jo Busiany 1954'(au revers)huile sur toile115 x 76.5cm (45 1/4 x 30 1/8in).signed (lower left); signed and dated (on the reverse)oil on canvasFootnotes:ProvenanceThe artist's estate.ExpositionBrussels, Centre Culturel Mutualiste, Europalia 82, Giorgos Bouzianis, retrospective exhibition, September 1982. LittératureD. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 191, p. 290 (catalogued), 140 (illustrated).'Bouzianis expressed a sensual joy in colour and form and a profound love for humanity which at first reminds one of the great Renoir. Whilst one can see the influence of the German expressionists, especially of Kokoschka and Jawlensky, Bouzianis was gentler and more compassionate. Most of his paintings are of single form, usually a partly clothed woman.In his draughtsmanship and handling of form he reveals his German inheritance. His colours, however, are entirely non-Teutonic. They sing their lovely gay hues, and it is a Mediterranean, Grecian song, full of sun and golden light. There is also a less easily defined pathos in the colour, for all its glowing beauty. In this mingling of joy and sadness, of sensuality, of movement and form, Bouzianis is a richly rewarding and complex artistic personality.' Charles S. Spencer, Studio magazine, London, 1960.1The nude woman in red hat, with her voluminous limbs and corporeal presence, fills the surface of the painting with a statuesque calm, generating tension between bodily volume and pictorial space in the vein of Picasso's 'classic phase', where the artist's predilection for plastic volumes in the treatment of the human figure was revived by his exposure to Greco-Roman sculpture. As keenly noted by Y. Tsarouchis, 'there is something classical in the works of Bouzianis, because for a Greek the classical is a natural state of mind.'2 Elaborating on this remark, Y. Psychopedis notes: 'Though he had assimilated the radical extremities of expressionism, Bouzianis transformed their pronounced gothic metaphysics to a discourse regarding the living human subject. His figures are tied to reality; they are not alienated as formless matter neither lose their identity becoming abstract, archetypal forms or nightmarish masks... His work emanates a nostalgia for the classical, a nostalgia for a lost and constantly sought balance.'3 A modern-day incarnation of eternal Venus or archetypal Eve, this starkly represented kore emerging from a shimmering ground of greens and purples becomes both a reflection of the sitter's inner life and the artist's intense response to the subject. Treated in a frank and direct manner and rendered explicitly in all its glory, the female nude—one of Bouzianis's favourite subjects after 1926—reflects the artist's firm belief that art should be a vehicle for emotional states rather than a process of beautification. Leaving clear traces of a vigorous painting process, the picture pulsates with strong feeling and crackling energy, yet is continuously subordinated to aesthetic demands and disciplined by artistic intelligence. This inexhaustible vitality and incessant pulsating rhythm animate every part of the canvas, making it look like a vibrating star bathed in its own light.4 1C.S. Spencer, 'George Bousianis', Studio magazine, London, vol. 159, no. 806, June 1960, p. 206.2 Y. Tsarouchis, preface to Bouzianis-Watercolours [in Greek], Agra-The Friends of Bouzianis edition, Athens 1982, p. 12. 3 Y. Psychopedis, 'The Militant Introversion, Expressive Lyricism and Critical Spirit in the Work of Bouzianis' [in Greek] in Nostos, Kedros editions, Athens 2009, pp. 228-229. 4 See G. Mourelos, 'Bouzianis's Technique' [in Greek], Kathimerini daily, Epta Imeres, October 27, 1996, p. 28.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
Panayiotis Tetsis (Greek, 1925-2016)Nature morte avec orchidées signé en grec (en bas à droite)huile sur toile150 x 155cm (59 1/16 x 61in).signed in Greek (lower right) oil on canvasFootnotes:ProvenanceAcquired directly from the artist by the present owner. Nourished by the Greek light, Tetsis's famed tables captivate the viewer with a festive ritual of blazing colour and, at the same time, a deep feeling of calm and reverie. Without sacrificing visual reality, the artist boldly treats colour as a structural element in building up form and deals with light as being assimilated into his painted surfaces. 'Tetsis muses over colour, loses himself in its depths, and seeks to reach beneath the skin of the world of appearances, beyond colour, chroma, a word which derives from the ancient Greek chros meaning skin. A sense of unity and balance, a discreet, subtle classicism lies beneath the romanticism of colour. His eye, well-trained and scholarly, yet innocent and lyrical, contemplates the world through a strong and resolute will for life.'11 H. Kambouridis, 'A Gymnasium for the Gaze' in P. Tetsis, Thalassa, exhibition catalogue, Basil & Elise Goulandris Foundation Museum of Contemporary Art, Andros, 2006, p. 66.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Georgios Bouzianis (Greek, 1885-1959)Frau mit Lederarmhandschuhe signé et daté 'Jo Bousianis/34' (en bas a droite); titré et signé sur passe-partout 'Frau mit Lederarmhandschuhe Jo Busianis'aquarelle et mine de plomb sur papier67.5 x 50.5cm (26 9/16 x 19 7/8in).Peint en 1934.signed and dated (lower right); titled and signed on the pass-par tout watercolour and pencil on paperFootnotes:The work is included in the archives of the Busianis estate. We are grateful to Gerard Busianis for his assistance in authenticating this lot.Invested with watercolour's sense of immediacy and painted with stark directness, Woman with gloves conveys intense and insightful impressions without losing its pictorial coherence. The frontality of the portrait, set against a barren background and bathed in golden light, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint. Here, the element of distortion, a defining trait which usually plays a dramatic role in expressionism, is kept on a tight rein. The artist avoids sentimentality or any theatrical device which might charge his forms with too obvious a pitch of heightened emotion. There are no grotesque excesses, no falsification of the subject's essential integrity. Yet, this work of unforced clarity is full of strong feeling, disciplined by artistic intelligence and subordinate to aesthetic demands.1 As noted by painter C. Botsoglou, 'Bouzianis's work does not derive from the expressiveness of faces and bodies, a fact that differentiates him from the mainstream of German Expressionism. His figures are emotionless, showing no facial contortions. The expressive thrust of this type of painting relies exclusively on pictorial means.'2 1 See G. Mourelos, preface to Bouzianis-Watercolours, exhibition catalogue, Greek-American Union, Athens, February 1965.2 C. Botsoglou, 'Reflections on the Work of G. Bouzianis - A Confession' [in Greek], Anti journal, no.302, 25.10.1985.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 Tsarouchis (Greek, 1910-1989)Épicerie à Mytiline signé en grec et daté '65' (en bas à droite)huile sur toile89 x 42cm (35 1/16 x 16 9/16in).Peint en 1965.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvennacePrivate collection, London.LittératureYannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 316 (illustrated).Yannis Tsarouchis (1910-1989), Eleftherotypia editions, Athens 2009, pp. 118-119 (illustrated).Yannis Tsarouchis Foundation card collection, Athens (illustrated).Yannis Tsarouchis, Dancing in Real Life, Wrightwood 659 Gallery, Chicago 2021, (catalogued, p.228 and illustrated, p. 219).Resonating with echoes of Byzantine art and Pompeian frescoes1, this scrupulous observation of familiar contemporary life is a statement of the artist's resolve in exploring the inner world of Greekness. As noted by poet A. Embeirikos, 'when looking at Tsarouchis's work, one has the immediate impression of looking at Greek painting par excellence, more so than in the work of any other Greek painter, with the exception of Theofilos.'2The linear arrangement of figures in the foreground, set against a flat monochromatic backdrop interrupted by pronounced vertical elements, is a typical Hellenistic-Roman layout found in Villa dei Misteri in southern Italy as well as in the Aldobrandini Wedding fresco from the 1st century BC. Moreover, this kind of paratactic design, also evident in Byzantine church decoration and shadow-puppet folklore, is reminiscent of Theofilos's compositions where all scenes seem to exist on one uniform level or plane. In both artists everything is clearly expressed and all visual phenomena are thrust forward to the narrative surface where they receive even illumination in a continuous present.3 Imbued with a stage designer's perception of space, the humble facade of the grocery store is further invested with an aura of classical order, conveying a sense of monumentality and timeless serenity. Its pronounced and rhythmical verticality, purity of form, and juxtaposition of light and dark areas, which was repeated by the artist in his famous pair of Neon coffeehouse paintings, creates a tranquil world of purity, austere beauty, and harmony of form that borders on abstraction. 1 See Y. Tsarouchis's brief assessment of his 1962-1966 period in Yannis Tsarouchis Retrospective 1928-1981 [in Greek], exhibition catalogue, Macedonian Museum of Contemporary Art - Archaeological Museum of Thessaloniki, Thessaloniki 1981.2 A. Embeirikos, 'The Triumph of Sensuous Painting' [in Greek], Zygos magazine, no. 72-75, November 1961 - February 1962, pp. 11-12. See also 'Yannis Tsarouchis', Greek Heritage quarterly, vol. 1, no. 2, Spring 1964, pp. 92-93. 3 In the early 1960s, Tsarouchis paid frequent and lengthy visits to the island of Mytilene, overseeing the construction of the Theofilos Museum in Petra—a testament to his lifelong admiration of the great folk-art painter. See Yannis Tsarouchis Painting, Comments, Yannis Tsarouchis Foundation, Athens 1990, p. ix, no. 285.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
Chryssa (Vardea) (Greek, 1933-2013)New York Cityscape signé et daté 'Chryssa 1974' (sur étiquette du plexiglas en bas à droite)néons, plexiglas92 x 70 x 25cm (36 1/4 x 27 9/16 x 9 13/16in).signed and dated (on plexiglass label lower right)neon sculpture, plexiglassFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 51 (illustrated in the exhibition catalogue).Chryssa's work from the early 1970s ranks among her most extraordinary, producing majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis.Mounted in a dark Plexiglas box, the curving neon tubes and the electrical connections and other visible interior parts enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add a new dimension to the game of illusionism, compelling the viewer to experience the work as both presence and absence. The end result is a work of intelligibility and coherence that conveys a classical sense of structure and proportion. As noted by art critic S. Hunter, Chryssa's work 'reveals the surprising contemporary outlines of a new classicism, in which we recognise familiar attributes of clarity, order and intellectual control.'1 1 S. Hunter, Chryssa, Abrams editions, New York, 1974, p. 19.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
Michalis Economou (Greek, 1888-1933)Mas à la campagne signé 'M. Economou' (en bas à gauche)huile sur toile56.5 x 97.5cm (22 1/4 x 38 3/8in).signed (lower left)oil on canvasFootnotes:Nous remercions Afroditi Kouria pour son aide dans l'authentification ce lot. We are grateful to Afroditi Kouria for her assistance in authenticating this lot.An outstanding recent discovery and an important addition to the artist's oeuvre, this soulful rendition of nature reveals Economou's penchant for painting the quiet corners of the landscape, while displaying his ability to transform ordinary subjects into visions of humble monumentality.In a peaceful olive orchard, the aged trees shaped by time and the elements offer a delightful variety to the artist's observing eye. The bark of the tree trunks is composed of countless quick touches of thick impasto to suggest rough texture, while the varied angles of the branches create a vivid surface pattern echoing van Gogh's celebrated olive groves. Trunks and branches are used as a means of flattening the pictorial space and juxtaposing foreground and background in the vein of similar works by the Nabis. At the same time, the triangle in the centre-right opens out the composition to reveal the glowing curvilinear forms of an evocative adobe dwelling—the artist's signature subject—while large areas of cast shadows animate the ground, endowing the picture with a vibrating pulse and poetic feel.In 1927, D. Kokkinos noted that Economou's paintings were true works of poetry but so masterfully rendered that their significance as paintings prevailed. As noted by art historian A. Kouria, who prepared the painter's monograph, art critics of the time urged collectors to hasten and purchase these works. In light of the critical and popular acclaim his two one-man shows (1926 and 1927) met with, it's no wonder that his works adorned the collections of such major early 20th century Greek collectors as A. Benakis, C. Loulis, and G. Stringos.1 1 See A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125For further information on this lot please visit Bonhams.com
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Kammena Vourla III signé et daté 'Ghika 78' (en bas à droite); signé, daté 'GhikA 1978' et titré en grec (au revers)huile sur panneau 40 x 56.5cm (15 3/4 x 22 1/4in).signed and dated (lower right); signed, dated and titled in Greek (on the reverse) oil on hardboardFootnotes:ProvenanceSotheby's London, Greek Sale, 14 November 2007, lot 51 (as The Property of a Lady).Acquired from the above sale by the present owner.LittératureAthens, To Trito Mati Gallery, Ghika, March 1979.K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, fig. 32, p. 245 (mentioned and illustrated).Imbued with the breath of the earth, this luxuriant and pulsating landscape speaks about the artist's lifelong fascination with the magic of painting and the miracle of Greek light. As noted by art historian K.C. Valkana, 'in such paintings as Landscape in Kamena Vourla III the wild, dynamic and mostly inimical nature of his earlier works is replaced by a verdant and blooming one conveying the joyful atmosphere of spring or summer, like his renowned Cretan gardens from 1950.'1 As Ghika himself once said: 'Venturing beyond geometric rules and harmonious designs you gain something else: more spontaneity and greater freedom.'2 Drawing from his personal impressions gathered while touring the countryside, the artist, often with the aid of a camera, captured nature as an inexhaustible source of natural wealth and beauty.3 1 K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 245.2 A. Grimani, 'Nikos Hadjikyriakos-Ghika, The Clock of Memories' [in Greek], interview by Ghika, Ena magazine, no.49, 5.10.1990, pp. 115-118.3 The photo archive of the Nikos Hadjikyriakos-Ghika Gallery includes a large number of snapshots from the artist's outings in Kamena Vourla.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
17 Lesney Matchbox Regular Wheels boxed cars and vehicles 17 Lesney Matchbox Regular Wheels boxed cars and vehicles to include 39C Ford Tractor, 41c Ford GT40 Racer, 42b Studebaker Lark Station Wagon in dark turquoise with light blue roof slide, 44c Refrigerator Truck, 45b Ford Corsair with boat, 48c Dodge Dumper Truck, 49b Mercedes Unimog, 54b Cadillac Ambulance, 56b Fiat 1500 Saloon, 57c Land Rover Fire Truck, 58c DAF Girder Truck, 62c Mercury Cougar, 66c Greyhound Coach, 67b Volkswagen 1600TL, 73b Ferrari Racing Car, 74b Daimler Fleetline Bus in green with ESSO decals, 75b Ferrari Berlinetta
Beswick Hunt Figures Beswick hunt figures to include a huntsman on rearing horse 868, 2x huntsman 1501, skewbald pony with child rider in green jacket 1499, huntswomen on a dappled grey horse wearing a black hat 1730, 3 foxes and 6 hounds. 3 hounds are second version with wider legs.Qty: 14Small firing fault to one hound, child rider is crazed all over, other models have some areas of light crazing. Most have areas of surface dirt and would require cleaning. A small production chip to the cap of the rider (photographed), looks to have been during production as no evidence of restoration.
Ship Cigarette Dispenser Mid 20th Century cigarette dispenser in the form of a ship with trigger mechanism to fire two cigarettes as torpedoes from the front of the hull. Small engraved plate to the top ' C.W.J.E. H.M.S. Bermuda 1945. The H.M.S. Bermuda was a Fiji-class light cruiser of the Royal Navy and launched on 11 September 1941. 28.5cm long
Sunburst wall mirror by Alan Wallis Contemporary 'Sunburst' wall mirror by Alan Wallis, gold painted composite with central circular mirror, previously acquired from Bolesworth Castle, paper label to back, 140cm diameter, mirror 46cm diameterMirror is in good overall condition with a couple of light scratches to the surface. The frame has some scuffs and knocks to the raised edges around the border. Please see the additional images.
Three Unusual Ear Trumpets, all 19th century, a tinplate ear trumpet with exceptionally large bell (15.5cm diameter), original tourquoise paint and silk ribbon, length 37.5cm; a telescopic ear trumpet in celluloid, in imitation of light tortoiseshell, 37cm extended; a small and compact Bonnafont trumpet in black painted tinplate and brass, with plaque ' 'MATHIEU BRD SNT GERMAIN 113 PARIS', 9cm long (3)
A Fine Georgian Silver Ear Trumpet, by Thomas Phipps & Edward Robinson, London 1808, fully marked, gadrooned rim and band, 23cm long, 148g, 4.76oz troy. Condition report: Very good, hallmarks clear,little sign of any use or wear, no noticable dents (a few very small shallow dents apparent towards earpiece under bright reflected light), no splits or repairs.
Medical, A Rare Indirect Laryngoscope by Mathieu, laryngoscope French, c.1880-1900, signed Mathieu Paris Brevete, in nickel plated brass with steel spring, silvered glass mirror and ebony handle, 26.5cm overall. Note: The bottom blade of the speculum would hold down the tongue whilst the top blade would be positioned against the soft palate so that a light source would illuminate the mirror. In turn the mirror would reflect back a view of the larynx and glottis. The first laryngoscope was attributed to Manuel Garcia (a Spanish singing professor) in 1854. It was quickly adopted by the medical profession; initially Ludwik Turk in Vienna, Czermak in Budapest and in England Morell Mackenzie pioneered the development of laryngology.
W Watson & Sons, Collection of 16 Microphotographs, A Collection of microscope slides of microphotographs by Watson & Sons comprising of 'The Price & Princess of Wales', Death of Lord Nelson' 'Princess of Wales', 'Map of Europe'(x2), 'The late Dr. Livingstone', ' The Great Eastern at Sea', ' The Great Eastern at Sea in a Storm', 'Bardell Versus Pickwick', 'Group of Elephant from Life', 'Rt Hon W. E. Gladstone', 'St Pauls Cathedral London', 'The Times Newspaper', 'Windsor Castle', 'Eddystone Light House', Windsor Castle', 'The Cathedral Milan', (16)
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