Nikolaos Gyzis (Greek, 1842-1901)Oriental man with beard signed 'N.Gysis' (middle right)oil on panel 20 x 16.5 cm.Footnotes:This delightful and psychologically acute portrait of a whimsical and spirited Oriental—probably the same bearded sitter who posed for the artist's Oriental with pipe in the collection of the National Gallery in Athens—stands as a lucid demonstration of Gysis's extraordinary painterly impulse. His limited but intense palette seems to burst out of the dark background—not only the signature Gysis red but also his mesmerising turquoise blue, which, as noted by N. Misirli, 'conveys the impression that the painter dipped his gaze in the deep blue waters of the Aegean.'1 The vigorous brushwork, especially in the modelling of the headpiece, generates a sense of mobility, accentuating the picture's close-up immediacy and compelling energy.Gysis's life-changing trip to the Orient in 1873 led to the development of a new personal style that retained elements of the Munich School teachings remoulded, however, through the eyes of a Greek. As argued by T. Tsatsos, 'colour became as critical for Gysis' design as light was for ancient Greek sculpture. It imbued his design with an instantaneous, fleeting, yet vibrant feel.'21 See N. Misirli, Gysis [in Greek], Adam editions, Athens 1995, p. 80.2 T. Tsatsos, About Painting [in Greek], Estia publ., Athens 1970, p. 48.For further information on this lot please visit Bonhams.com
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Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Shutters I signed 'K.GHIKA' (lower center)oil on cardboard 34 x 27 cm.Painted c. 1927.Footnotes:ProvenanceG. Isaias collection, Athens.Nia Stratos collection, Athens.ExhibitedAthens, Stratigopoulou Gallery, Exhibition of Paintings and Sculpture by N. Hadji-kyriakos Ghika and Michael Tombros, May 1-31, 1928, no. 15 (listed in the exhibition catalogue, p. 4).Athens, National Gallery - Alexandros Soutzos Museum, Ghika, May 1973 (not included in the exhibition catalogue). Athens, To Trito Mati Gallery, Nikos Hadjikyriakos Ghika, 1st Retrospective Exhibition 1921-1934, May 11 - July 3, 1977.LiteratureCahiers d'Art, Paris, no. 6, 1927, p. 217 (illustrated).To Trito Mati Gallery Bulletin, no. 1, May 1977, p. 21, no. 49 (catalogued and illustrated).N. Petsalis-Diomidis, N. Hadjikyriakos-Ghika, Catalogue Raisonné 1921-1940, Athens 1979, no. 52, pp. 238 (listed), 130 (catalogued and illustrated).J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, pp. 48, 51 (discussed), fig. 20, p. 53 (illustrated). E. Mystakas, Nikos Hadjikyriakos-Ghika and Space in his Painting, doctoral dissertation, Athens, 2005, p. 148 (discussed), fig. 13, p. 308 (catalogued), p. 150 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, p. 53 (discussed), fig. 38, p. 51 (illustrated).Echoing de Chirico's metaphysical spaces and Matisse's psychologically acute interiors, this historic 1927 Ghika shows a window view from the artist's family home in Athens at 25 Omirou Street, which he visited regularly while residing permanently in Paris since 1923.Ghika, who had recently given up portraiture, nude and landscape painting to concentrate on interior and studio views in the spirit of the early 20th century avant-garde, focuses here on the interplay of volumes and planes that look intensified by the oblique evening light. This pronounced schematization of form accompanied by an overall feeling of naiveté is greatly indebted to the proto-renaissance primitive styles he had recently discovered during his travels in Italy, while pointing to the post-Cubist trends, which he was to become increasingly associated with. As noted by art critic Maurice Raynal in 1927, 'Ghika belongs to the group of artists who, while adhering to the tenets of Cubism are now attempting to expand them, without adulterating them with sentimental or literary pretexts...From his Greek origins he retains a fondness for light and architecture.'11 See J.-P. De Rycke - N. Paisios, Ghika and Avant-garde in Interwar Europe, Benaki Museum - N. H. Ghika Gallery, Efesos editions, Athens 2004, pp. 199, 201.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
Théodore Jacques Ralli (Greek, 1852-1909)Soubrette arrosant des fleurs signed and dated 'T.Ralli/1876' (lower left); inscribed with the artist's address on the stretcheroil on canvas55.5 x 46.5 cm.Footnotes:ProvenanceEstate of the artist and by descent to the present owner.ExhibitedParis, Palais des Champs-Élysées, Salon, Exposition des Artistes Vivants, 1876, no. 1705.Liverpool, Autumn Exhibition of Modern Pictures, Corporation of Liverpool, 1876.Manchester, Royal Manchester Institution, Annual Exhibition of the Royal Manchester Institution, no. 45.Paris, Palais de Champ de Mars, Exposition Universelle Internationale, 1878. LiteratureThe Theodore Ralli Archive (illustrated).Undated newspaper clip, Th. Ralli archive (discussed).Liverpool Mercury newspaper, October 4, 1876.T. Véron, Dictionnaire Véron ou Mémorial de L'Art et des Artistes de Mon Temps. Le Salon de 1877, Poitiers 1877, p. 360 (discussed). L. Énault, Les Beaux-Arts à Exposition Universelle de 1878, E. Gros, Paris, 1878, p. 100 (discussed).T. Véron, Dictionnaire Véron ou Mémorial de L'Art et des Artistes de Mon Temps. Le Salon de 1878 et L'Exposition Universelle, vol. II, Paris and Poitiers 1878, p. 788 (discussed). D. de Pesquidoux, L'Art dans les Deux Mondes. Peinture et Sculpture (1878), vol. I : L'Art au XIXe Siècle, Plon, Paris, 1881, p. 567 (discussed).É. Cambanis, Théodore Rallis, maîtrise, Université de Paris X - Nanterre, 1984, p. 158.Dictionary of Greek Artists, Melissa editions, vol. 4, Athens 2000, p. 85 (mentioned).Paris-Athens 1863-1940, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2006, pp. 199-200 (listed).M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 27 (mentioned), vol. II, fig. 5 (illustrated).M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, pp. 60-62 (discussed), p. 60 (illustrated).This painting will be a treasure to whoever secures it.Liverpool Mercury, 1876Following its showing in the 1876 Salon des Artistes Vivants, the 1876 Liverpool Autumn Exhibition and the 1878 Paris Exposition Universelle, Soubrette arrosant des fleurs met with extensive critical acclaim:'A young girl holding a pitcher is watering, inside a room, flowering plant pots. But here is how successfully Mr. Ralli has captured this most common of ideas. In the middle of an opulent room, a beautifully coloured and elaborately dressed young girl, wearing the clothes of a lady's maid of the previous century, holds out with her right hand an alabaster vessel towards a plant pot, while with her left hand she slightly raises her dress and her apron, in order for them not to be splashed by the water being poured. The slant of the young girl's body is very graceful, as she concentrates on her task and stretches her blonde head towards the flowers showing three quarters of her face, while leaning her body to the right, to stand away from the falling water. Her dress leaves her tender arms bare to the elbows and her neck almost to the chest; and, as it is lifted slightly from below, it reveals her tiny and elegantly shod feet. The light falling sideways colours her rosy cheeks and the light green bodice, which fits tightly around her chest and arms. The plant pots of various shapes and older times, standing on the floor and on tripods, contain plants blossoming with pink and yellow flowers, their broad or narrow verdant leaves spreading out all over. Behind her, at the back of the room, hanging Gobelin tapestries portray battle scenes...Not only once or even twice were we happy to see this young girl watering flowers, who, resembling them in tenderness and being with them, is reminiscent of the lovely season of spring. Juxtaposing Mr. Ralli's present-day painting to last year's, we can tell him that, if he is to progress in a similar way each year, he will soon be vying for an award. Because when one has such facility in drawing, when one knows how to match colours so successfully to generate the feeling which the blonde maiden generates amid the green flowers, and when, lastly, one expresses ideas which have so much in common with aesthetic quality, then how can one not be justified to hope that not long after he will distinguish himself among those exhibiting at shows?' Unidentified clipping in the Theodore Ralli Archive. See also M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, p. 61. 'This is painting with care, knowledge and true industry. It will be a treasure to whoever secures it.' Liverpool Mercury newspaper, October 4, 1876.'She is sweet and truly poetic, this charming soubrette; her pose has vigour, élan and a truly seductive grace.' T. Véron, Dictionnaire Véron ou Mémorial de L'Art et des Artistes de Mon Temps. Le Salon de 1878 et L'Exposition Universelle, vol. II, Paris and Poitiers 1878, p. 788.For further information on this lot please visit Bonhams.com
Michalis Economou (Greek, 1888-1933)Fishing boat at sunset signed 'M.Economou' (lower left)oil on board54.2 x 65.5 cm. Footnotes:ProvenanceThe Antonopoulos collection, Patras and Athens. Thence by descent to the present owner's private collection, Canada and United States.We are grateful to Mrs Afroditi Kouria for her assistance in authenticating this lot.Handled with loosely painted, abbreviated curvilinear forms and stripped of superfluous descriptive detail, Economou's peacefully floating boat1 is transformed into a highly evocative image that feels more like a distant recollection than an actual sensory experience. Fishing boat at sunset prioritizes atmosphere and lyrical feeling above realistic depiction. Introduced by the water reflections that lead the eye from the foreground to the middleground, the poetic mood permeates the entire seascape, turning it into an expressive field that records the artist's emotional and intellectual response to the natural environment. The juxtaposition of soft and heavily worked forms bathed in diffused light creates an ambivalent sense of presence/absence in a poetic 'timescape' where human presence is suggested rather than actually depicted.2 Note how the fisherman is so integrated in the poetic atmosphere that he dissolves into his natural surroundings, partaking in the ethereal vagueness and lyrical uncertainty of space.Moreover, the depiction of the sun, a motif often found in folk Greek art but rarely encountered in Modern Greek and European painting, endows the atmosphere with transient gleams of light and golden luminosities, accentuating the romantic feeling. In 1927, D. Kokkinos noted that the works by Economou were true works of poetry, but so masterfully rendered that their significance as paintings prevailed.1 For a discussion of the boat motif in Economou's work, see A. Kouria, Michalis Economou, Fifty Years from his Death [in Greek], Zygos magazine, no. 56, November-December 1982, p. 15.2 Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, pp. 106-116.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Terrace plant signed and dated 'Ghika/65' (lower right)oil on canvas100 x 73 cm. Footnotes:ExhibitedAthens, National Gallery - Alexandros Soutzos Museum, Ghika, May 1973, no. 115 (listed in the exhibition catalogue). Athens, Benaki Museum, N. Hadjikyriakos Ghika, The Apollonian, the Dionysian 1906-1994, November 11, 2006 - January 15, 2007 (illustrated in the exhibition catalogue, no. 236, p. 140).LiteratureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 366, p. 300 (illustrated).A riot of festive colours and a lacework of energetic lines and rhythmically orchestrated forms, this luminous and cheerful painting of Dionysian contemplation and paganistic zeal aptly illustrates Ghika's ability to filter the world around him through his rich imagination and transform an ordinary terrace plant into an expression of the enthusiasm sparked in him by nature. Every part in the picture is imbued with the breath of the exuberant flora and the refractions of light, exploding into dazzling mosaic-like fragments that spin and swirl around enigmatic webs of geometric and patterned features so that the whole composition is in a state of perpetual becoming, immersed in a constantly changing and revived atmosphere.1 From the late 1950s on, Ghika's ordered architectural structures were gradually replaced by a world subject to natural forces,2 to explosions of colour and form, where trees, leaves, bushes and flowers were set in motion, engaged in a perpetual Dionysian dance. Inspired perhaps by Japanese calligraphy's pronounced gestures and constant flow of brush and pen, his landscapes became denser and more mystical, reflecting his perception of nature as a cosmogony invested with pantheistic rituals and Oriental myths.'I tried to evoke the whispering of leaves, the buzz of insects, the movements of tree branches, the breathing of the juices, the swirling of petals. The artist discovers pulsating rhythms derived from his intimate relationship with nature. He discovers them in the leaves and insects, in the light and the shadows cast by wind-swayed trees, in the flight of birds and the nuances of colour. In other words, I want the viewer to feel the knife used to carve out nature. I want him or her to even feel the music, the sounds emanating from the orchestration of different forms, different shapes, different lines and not only the orchestration but, if possible, even the inherent scent they exude, which is the most elusive sense of all.'3 'Every artist who is by nature a colorist bears within him his own harmonies of colour, which are never exactly those of nature but those of his own ideal of nature. In my case, these harmonies are mainly composed of mauves, greys and pinks, but sun-drenched, sun-saturated colors that have at the same time preserved something of the brightness which might have been theirs in a less cruel light.'4 'What remains as my strongest impression about Ghika's work is its constant inspiration from nature – the wonder, the strength, the beauty, the power, the patterns. I asked him if nature was always inspiring to him and he answered, Always. No matter what happens in life, nature is always an inspiration.'5 1 See N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian [in Greek], exhibition catalogue, Benaki Museum, Athens 2006, p. 52.2 See M. Achimastou-Potamianou, 'The Art of Ghika' [in Greek], in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975', p. 340.3 See N. Hadjikyriakos-Ghika, The Birth of New Art [in Greek], Astrolavos-Efthini editions, Athens 1987, pp. 232-234; N. Hadjikyriakos-Ghika, In Front of Others [in Greek], Athens 1990, p. 25. See also transcribed excerpts from the 'Monogramma' television documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika [in Greek], Tegopoulos editions, Athens, 2009, p. 150.4 Ghika's interview by E. Roditi, The Charioteer magazine, vol. 1, no. 2, Autumn 1960, p. 55. 5 H. Livas, Contemporary Greek Artists, Vantage Press, New York, 1993, p. 11.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 Hadjikyriakos-Ghika (Greek, 1906-1994)After the rain signed and dated 'Ghika/1974' (lower left)gouache and mixed media on paper laid on canvas 39 x 50 cm.Footnotes:ExhibitedAthens, Iolas-Zoumboulakis Gallery, December 10, 1976 - January 15, 1977.Nicosia, Cyprus, A.G. Leventis Gallery, Ghika - Craxton- Leigh Fermor, Charmed Lives in Greece, February 24 - May 22, 2017.London, British Museum, Ghika - Craxton- Leigh Fermor, Charmed Lives in Greece, March 8 - July 15, 2018.LiteratureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 431, p. 306 (illustrated).E. Arapoglou, I. Collins, M. Llewellyn-Smith, I. Moraiti, Ghika - Craxton- Leigh Fermor, Charmed Lives in Greece, A.G. Leventis Gallery edition, Nicosia 2017, no. 65, p. 101 (illustrated).A vibrant landscape1 of undulating rhythm and interwoven lines and forms where trees, leaves, bushes, rocks and thorns are engaged in a delicate dance, After the rain aptly illustrates Ghika's mystical connection to nature. Captured in slanted lines, angular shapes, twisted diagonals and tangled verticals, the natural environment seems constantly expanding and contracting, while the crooked stone walls that inform so much of the Greek landscape emerge like ancient ruins from the damp earth. As noted by painter and writer N.G. Pentzikis, 'Ghika's schemata are rife with distant memories of leaves, shoots, plant anatomy and fibres and flowers. By effectively organising many forms and shapes, he manages to create new ones.'2 The artist himself once said: 'I want the viewers to feel the sounds emanating from the orchestration of different forms, different shapes and different lines. In other words, I want the viewer to feel the knife used to carve out nature.'3 In the 1960s and 1970s, the Greek landscape became a key subject in Ghika's work, reflecting his resolve to unravel its secrets and express 'the most arcane nuances of the mystery of natural phenomena.'4 Here, by exploring the dynamic qualities of light and atmosphere in a rainy day, he translated the fleeting weather phenomena into a sophisticated vocabulary of form. However, Ghika was not only interested in the landscape's elusiveness and constant movement but also sought to capture its everlasting geological structure,5 to convey both the reality of the changing atmospheric effects and the reality of the rocky terrain, which stands forever, weathering the next storm as it has weathered millions before. 1 As inscribed on the verso, the landscape is a view of Kardamyli, Mani in the Southern Peloponesse, where Ghika's lifelong friends Partick and Joan Leigh Fermor had built a country house in the 1960s. 'Kardamyli was an ingredient of their friendship, Ghika bringing with him his artist's equipment and sketching in the surroundings of the house.' M. Llewellyn-Smith, 'Kardamyli: the Perfect Refuge' in Ghika - Craxton- Leigh Fermor, Charmed Lives in Greece, exhibition catalogue, Benaki Museum, Athens 2017, p. 96. 2 N.G. Pentzikis in N. Hadjikyriakos Ghika [in Greek], exhibition catalogue, Irmos gallery, Thessaloniki 1994.3 Transcribed excerpts from the 'Monogramma' television documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika, Tegopoulos publ., 2009, p. 150.4 Nikos Hadjikyriakos-Ghika, From the East [in Greek], Athens 1989, p. 43.5 See K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre [in Greek], Benaki Museum, Athens 2011, p. 238.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)Nudes signed in Greek and dated '56' (lower left); signed, inscribed and dated (on the reverse)oil on cardboard70 x 50.5 cm.Footnotes:ProvenanceAcquired directly from the artist by the family of the present owner.LiteratureYannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 95, p. 99 (illustrated).Noble simplicity and calm grandeur mark Moralis's Two nudes, achieving a modern realization of the classical ideal: the elimination of the temporary, the elevation of form to a symbol and the pursuit of balance between lyrical feeling and intellectual thought.Reviewing the artist's work up to 1958, when Moralis co-represented Greece in the 29th Venice Biennale, M. Chatzidakis noted: 'In seeking to enrich the intellectual content of his work, Moralis was led to a conscious and gradual conquest of space where the construction is at once solid and expressive; where every inch of painted surface is subordinate to the spirit of the canvas which expresses an enduring world. Never has Moralis attempted to reproduce nature's play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.'1The female nude has always been a key subject in Moralis's art, tracing his stylistic development and revealing the wide range of his art historical and intellectual interests.2 In the 1950s, his evocative female nudes, either sitting or reclining, were gradually stripped of descriptive detail and handled in a more abstractive fashion, without, however, losing their recognizable form.3 In Two nudes, the purity of form, the composed immobility, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek idealistic art4 (compare Composition, 1951, Bonhams, Greek Sale, 17 April 2019, lot 32.)By sacrificing superfluous descriptive detail, rejecting the illusion of space, avoiding tonal gradations and emphasizing only the essential structural elements, Moralis expresses what is permanent and universal. 'Dedicated to the human figure, particularly the female one, Moralis has given us some of the most significant and intrinsic aspects of 20th c. art—not only of Greek but of world art. Above all else his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress from earthly to heavenly love, from the sensual aspects of the subject to the universal and eternal, to the metaphysical and the transcendental.'5 As N. Hadjikyriakos-Ghika once noted, 'Moralis's youthful females, closely attuned to the idealism of ancient Greek art, are lovable forms endowed with grace and tenderness, created by the Muses and the Hours.'6 1 M. Chatzidakis, 'Yiannis Moralis', The Charioteer review, vol. 1, no. 1, Summer 1960, pp. 56-62. See also M. Chatzidakis, 'Yiannis Moralis', Zygos magazine, no. 80, July 1962, p. 6.2 See D. Papastamos, 'Yannis Moralis the Artist' in Yannis Moralis, Commercial Bank of Greece, Athens 1988, pp. 27, 28.3 See K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, p. 17.4 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean, Athens 1999, p. 126.5 C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34.6 N. Hadjikyriakos-Ghika, Nea Estia magazine, no. 1245, 15 May 1979. 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)On the way to Loutraki signed 'M.Economou' (lower left)oil on flannel laid on canvas60 x 50 cm.Painted in 1927.Footnotes:ProvenanceNia Stratos collection, Athens.ExhibitedAthens, Parnassos Gallery, Exhibition of Paintings by Mich. Economou, November 17 - December 10, 1927, no. 26 or 42 (listed in the exhibition catalogue).Athens, Armos Gallery, Michalis Economou 1888-1933 Retrospective Exhibition, April 1961, no. 36, listed in the exhibition catalogue (possibly).LiteratureA. Kouria, Michalis Economou, Adam editions, Athens 2001, no. 114, pp. 107, 115 (mentioned), p. 245 (listed), p. 256 (catalogued), pp. 108, 163 (illustrated).Resembling flames of dark green flaring from the earth against an animated sky, Economou's evocative cypresses echo one of Van Gogh's signature subjects1 (compare Road with cypresses, 1890, Kröller-Müller Museum, Otterlo.) The work dates after 1926, the year Economou returned to Greece from France, and was included in his 1927 personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'2 As noted by art historian A. Kouria, who prepared the artist's monograph, critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis.3 In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by Kouria, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the trees (pines and cypresses, lone or in combination) seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks. ...A latent energy, a secret, surreptitious life force enlivens these paintings...In certain cases, the expressive thrust takes on a dramatic quality, which borders on expressionism with Northern European overtones, as in On the road to Loutraki.'41 Van Gogh was fascinated by cypresses as natural equivalents of architectural forms, 'as beautiful in lines and proportions as an Egyptian obelisk.' He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. 2 Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125.3 Kouria, p. 125. 4 Ibid, pp. 108-113, 115.For further information on this lot please visit Bonhams.com
Chryssa (Vardea) (Greek, 1933-2013)Chinese signed 'Chryssa' (lower right)oil on canvas and neon light96 x 69 cm.Executed c. 1970-73 (and reworked in 2006).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 Spyropoulos (Greek, 1912-1990)Synthesis N signed in Greek (lower right)oil in canvas60.5 x 80.5 cm.Painted in 1959.Footnotes:ProvenanceBonhams, The Greek Sale, 10 Nov 2008, lot 55.Acquired from the above by the present owner.LiteratureY. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 491b, p. 370 (listed), p. 222 (referred), p. 219 (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.'2 This 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.'3 Yiannis 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 -particularly in America where this painting comes from- and exhibited at the most 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
AN EDWARDIAN SILVER SALVERby Atkin Brothers, Sheffield 1905Shaped-circular form with gadrooned and scallop shell border, the centre engraved in the Rococo tendency with a vacant cartouche, acanthus and scrolling foliage, raised on three scroll-cast feet.28cm diameter. 19.4 troy ounces.Important NoteMarks clear and well struck. Very light surface scratched to the centre but nothing which detracts from what is a very pretty salver. In generally good condition.
AN ARTS AND CRAFTS SILVER TRAYby Liberty & Co, Birmingham 1920, the design attributed to Archibald KnoxRounded rectangular form, the hand-lip to each end inset with a turquoise cabochon, no. 5692. 17.6 troy ounces. 38cm long, 20cm wide.Important NoteMarks are clear. The cabochons are in good condition. Light surface scratches and a few very minor bruises to the rounded edge.
A CARTIER TANK VERMEIL WATCHRectangular ivory dial with roman indices at even number positions, central seconds hand, blued steel hands and date window at 3 o'clock position, vermeil case stamped ARGENT 925 PLAQUE OR G, dial and case signed Must de Cartier, crown set with blue cabochon stone, quartz movement, fitted with brown alligator grain strap and folding buckle signed Cartier.25mm width of case.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The watch appears to be functioning correctly. Light surface scratches and tarnish to the case. Some wear to the gilt to the lugs. Cartier signed leather bracelet with signed clap which opens and closes tightly.
A DIAMOND-SET "LATTICE" RING, BY TIFFANY & CO.Of woven openwork design, accented by brilliant-cut diamonds, diamonds approx. 0.40 carat total, signed T&Co Italy, stamped 750, ring size O 1/2. Gross weight approx. 6.1 grams.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The diamonds are lively and well matched. There is light surface wear throughout. The white mount is signed T&Co. Italy and stamped 750. It is otherwise unmarked and untested. Overall in good condition.
A DIAMOND-SET PENDANT, BY CARTIERThe heart-shaped pendant pavé-set with brilliant-cut diamonds, to a similarly-set suspension loop, suspended from a belcher-link chain, diamonds approx. 0.40 carat total, signed Cartier, Swiss assay mark, stamped 750, numbered, lengths: pendant 1.6cm, chain 50.0cm, maker's case.Gross weight approx. 11.8 grams.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The diamonds are lively and well matched. There is light surface wear throughout, in keeping with use. The clasp is secure and in good working order. The mount is signed and numbered. It is stamped 750 and there is a Swiss assay mark for 18 carat gold. Overall in very good condition.
A GROUP OF GENTLEMAN'S ACCESSORIESComprising a pair of double-sided cufflinks, of octagonal outline, each inset with a circular-cut diamond and a mother-of-pearl plaque, within reeded borders, accompanied by a pair of buttons and a pair of studs of similar design, together with a set of polished dress studs, cased (2). The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Overall in very good condition. Minor surface marks in keeping with light wear.
A GEORGE III SILVER SALVERGeorge Smith & Thomas Hayter, London 1800Oval with reeded border, engraved to the centre with a crest within an oval cartouche of repeating scrolls, raised on four tapering reeded feet.23.2cm long, 17.6cm wide. 12 troy ounces.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Nice patina. Marks are good and clear. Light surface scratches and wear commensurate with age.
A PAIR OF GEORGE VI SILVER TWO-LIGHT CANDELABRABirmingham 1939Each cylindrical candle-cup on a disc-form drip-pan, raised on out-scrolled arms issuing from a circular plinth to the centre of a slightly domed circular base, weighted.12cm high, 18cm wideImportant NoteMaker's mark rubbed. The other marks slightly rubbed but legible. In generally good condition.
A PAIR OF CUFFLINKS, BY KIESELSTEIN-CORD, 1988Each realistically modeled alligator terminal, to a polished T-bar connector, signed, maker's mark, dated 1988, stamped 18K, terminal length 4.0cm. Gross weight approx. 26.3 grams.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Overall in very good condition, with some light surface abrasion in keeping with wear. The reverse of each is signed KIESELSTEIN CORD, dated 1988, stamped with maker's mark and 18K. The yellow mounts are otherwise unmarked and untested.
A ZIRCON, HALF PEARL AND PERIDOT BROOCHThe cushion-shaped green zircon, within a twisted openwork frame of half pearls and circular-cut peridots, diameter 2.5cm. Gross weight approx. 5.6 grams.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The zircon is of a medium-deep green with excellent transparency. The peridots are of a well matched vibrant yellowish-green, with very good transparency. The half pearls are of graduated sizes and are well matched in colour. General surface wear in the form of light surface abrasion to the mount. The brooch fitting is secure and in good working order. The yellow mount is unmarked and untested.
A 19TH CENTURY WIDE BAND RINGThe curved foliate engraved edges, centred by a panel of contrasting finish, ring size M. Gross weight 9.6 grams. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.There is general surface wear in the form of some abrasion and light scratching to the interior and exterior of the band. The ring is unmarked and untested.
A THREE-STONE DIAMOND RINGOf geometric outline, containing a graduated trio of brilliant-cut diamonds, with similarly-cut diamond-accents to the mount, diamonds approx. 1.10 carats total, ring size P½. Gross weight approx. 2.7 grams.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The principal diamonds have been assessed mounted. Estimated colour: I-JEstimated clarity: SI2-SI3The remaining diamonds are lively and well matched. There is general surface wear to the mount, in keeping with light use. The white mount is unmarked and untested.
A GEM-SET NECKLACEThe belcher-link chain, accented by cushion and oval-cut sapphires, and a cushion-shaped pink topaz, suspending an articulated oval-cut sapphire and aquamarine drop, chain stamped 9C, lengths: pendant 6.0cm, chain 44.0cm, cased.Gross weight approx. 10.8 grams. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.There is general surface wear throughout, light surface marks and tarnish visible under close inspection. The gemstones are in good condition, with typical inclusions visible under close inspection. None surface-reaching. Overall in good condition.
A NAPIER SILVER-PLATED "TELLS-U-HOW" COCKTAIL SHAKER, CIRCA 1930'SWith a revolving gilt-metal recipe band, cover and cap, stamped NAPIER US AND FOREIGN PATENTS PENDING.26cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Functions correctly. There is a minor dent to the base which results in it wobbling ever so slightly. Light surface scratches.
AN ELIZABETH II SILVER TANKARDby Walker & Hall, Sheffield 1970Baluster form with leaf-form thumbpiece to the S-scroll handle, raised on a spreading foot.11cm high. 7.5 troy ounces.The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Some light surface scratches. No sign of past engraving or polishing out. A few flea sized dints to the rim. Generally in good condition.
A SET OF FOUR ELIZABETH II PARCEL-GILT SILVER CHAMPAGNE FLUTESby Stuart Devlin, London 1979 and 1980Each conical bowl raised on a slender tapering textured stem issuing from a domed circular foot.22.5cm high. Gross 25.5 troy ouncesImportant NoteTwo 1979 and two 1980. Each engraved with a small crest.Two with two tiny dints to bottom section of bowl. Each with light surface scratches to the bowls. Each stand straight. The marks clear and well-struck.
A model of a Stuart Turner live steam plant, having a Stuart Turner 501 horizontal live steam boiler set centrally on the plinth base with spirit fired burner, live steam pressure gauge and water sight-glass. The boiler flanked by a Stuart Turner 10V vertical steam engine with brass displacement oiler. A Stuart Turner 10H horizontal mill engine, circular saw bench, water storage tower, hand operated water feed pump, Stuart Turner generator and electric light. Glazed case 76cm by 48cm. Overall height 46cm.
Jaguar XK 150 and Mark 2, a collection of spare parts comprising a 7.75 inch 'leaping Jaguar' bonnet mascot; an XK150 chrome grille centre bar complete with badge; an XK150 boot badge; a pair of Mk 2 rear light clusters and spare indicator lenses; a Mk 2 rear number plate lamp; A pair of Mk 2 headlamp inner bezels; two similar aftermarket spot lamps by Notek, and a pair of Mk 2 chrome wing mirrors, together with Jaguar ephemera comprising a Mk 2 service manual (Fourth Edition) in blue ring binder with loose contents from another; A Mk 10 saloon original U.K. market ring bound sales brochure and accompanying folding card pamphlet; an XJ-S service manual in green ring binder, and a quantity of other automobilia including ephemera relating to early 1970' VW Beetles, (qty)
A well engineered 3 1/2 inch gauge model of a 0-4-0 'Juliet' side tank locomotive No 16 'Deborah', built to the design by LBSC and having silver soldered copper boiler with fittings including steam pressure gauge, water sight-glass, regulator, direction control lever with quadrant, safety valves, clack and other usual fittings. The chassis having twin outside cylinders with drain cocks and internal Stephenson's valve gear. The model finished in light blue and black livery with porthole cab windows, polished brass boiler bands and fitted lamps.Boiler History: No boiler history available.
An exhibition standard model of a live steam 'Model Engineer' beam engine, built from Reeve's castings and having turned central column supporting beam with split bearings, brass oiler cups, Watts parallel motion with link to vertical piston and cylinder having inside steam chest and steam inlet with linkage to speed governor and eccentric crank linkage. The model with water pump driven from beam and open crank with gear and bevel gear drives, large 23.5cm diameter spoked flywheel and smaller 8cm diameter pulley belt wheel, both with split bearings and brass oiler cups. The model finished in traditional green and black paintwork, polished bright-work and mounted on light oak plinth 43cm x 21cm. Overall height 32cm.
Red chalk on paper (Dimensions: 19cm x 30.5cm (7.5in x 12iin)) Provenance: Christies New York 2010 - Sale 2289, Lot 46 as Circle of Jan Both. Note: During the seventeenth century, a group of Dutch artists found themselves lured by the light of Italy. One such artist was the landscape painter Willem de Heusch, who lived in Italy from c.1640-45 until returning to his hometown of Utrecht by 1649. This period had a profound impact upon his work: going so far as to start signing his work G D Heusch, adopting the Italianate form of his name by using a ‘G’ rather than a ‘W’; Guglielmo. Upon his return to Holland, he became Dean of the Guild of St Luke; fellow Dutch landscape painters Jan Both and Cornelis van Poelenburgh were also on the council. Like his teacher, Jan Both, who he often emulated in his compositions, de Heusch painted romantic visions of the Campagna; the Italian countryside around Rome. Unlike Claude Lorrain, whose work from his time in Italy was highly influential to de Heusch, Willem rarely introduced biblical scenes into his landscapes, choosing to depict the utopian dream instead. This original red chalk sketch and the following oil on panel of this Italianate Landscape evokes the Arcadian world that de Heusch is known for. These two expressive pieces have only recently been reunited after hundreds of years apart, when the sketch was purchased from a major international auction house in New York and the oil on panel was purchased from the collection of an English Lord. The slender and delicate trees, which gracefully entwine themselves amongst each other, obscure the background, provoking a desire in the spectator to journey onwards into the distance. In the foreground, a shepherd herds three donkeys homewards along a rocky track.
Oil on panel (Dimensions: 23cm x 33cm (9in x 13in)) Provenance: Lord Shuttleworth, Leck Hall, Private Collection Note: During the seventeenth century, a group of Dutch artists found themselves lured by the light of Italy. One such artist was the landscape painter Willem de Heusch, who lived in Italy from circa 1640-45 until returning to his hometown of Utrecht by 1649. This period had a profound impact upon his work: going so far as to start signing his work G D Heusch, adopting the Italianate form of his name by using a ‘G’ rather than a ‘W’; Guglielmo. Upon his return to Holland, he became Dean of the Guild of St Luke; fellow Dutch landscape painters Jan Both and Cornelis van Poelenburgh were also on the council. Like his teacher Jan Both who he often emulated in his compositions, de Heusch painted romantic visions of the Campagna; the Italian countryside around Rome. Unlike Claude Lorrain, whose work from his time in Italy was highly influential to de Heusch, Willem rarely introduced biblical scenes into his landscapes, choosing to depict the utopian dream instead. The previous original red chalk sketch and this oil on panel of an Italianate Landscape evokes the Arcadian world that de Heusch is known for. These two expressive pieces have only recently been reunited for the first time after hundreds of years apart, when the sketch was purchased from a major international auction house in New York and the oil on panel was purchased from the collection of an English Lord. The slender and delicate trees, which gracefully entwine themselves amongst each other, obscure the background, provoking a desire in the spectator to journey onwards into the distance. In the foreground, a shepherd herds three donkeys homewards along a rocky track.
Lu Ping (b.1961) LANDSCAPE 1, a snowy canal scene Woodblock, 1999, signed, titled, dated and numbered 73/150 in pencil on the lower margin sheet 48 x 59.3cm approximately, unframed; Wang Weide (b.1944) MORNING OF SUN VALLEY, morning sun shining light into the gorge of a narrow river valley in China Woodblock, 2005, signed, titled, dated and numbered 7/8 in pencil on lower margin sheet 47.5 x 58cm approximately, unframed; Li Yonggang (b.1973) THE ECLOGUE OF HIGHLAND, a herdsman grazing his sheep between a river and the foot of mountains Woodblock, 2006, signed, dated, titled and numbered 21/30 in pencil on lower margin sheet 50 x 75cm approximately, unframed (3) 卢平 周庄一景 版画 1999 王维德 太阳洼的早晨 版画 2005 李永刚 高原牧歌 版画 2006 一组三件
Military Interest - Regimental Silver Light Automatic Pistol Two Handle Sterling Silver Trophy/Cup Officers Only 8th (Ardwick) Battalion, Manchester Regiment. Winners inscribed from 1929 to 1966. Hallmark Birmingham 1929, William Neale & Sons makers mark. 23oz - 16 grams. Height 10.75" - 26 cm. Please see photographs.
White Crystal Bib Necklace and Drop Earrings Set, a V shaped panel fully set with brilliant white crystals to the front of the necklace, tapering down to the single row at the sides, finishing with a light curb chain; the matching earrings feature three fixed rows of similar crystals, finishing in a V shape and having post and push back fittings; necklace can be worn from 15 to 20 inches (38 to 50cms) long as the lobster claw clasp fastens into anywhere along the chain, earrings 1.9 inches (4.8cms) long; a beautiful compliment to any wedding dress, the classic style suits many occasions
Sleeping Beauty Turquoise and White Zircon Ring, an oval cut cabochon of over 2cts of the bright, matrix free, turquoise from the Sleeping Beauty mine in Arizona which closed for the mining of this much admired stone earlier this century; to either side of the turquoise are three rows of three round cut natural white zircons, totalling 0.5ct, adding elegance and light in support of the main stone; size S
Black Spinel Pear Drop Loop Earrings, pear drop open loops, pave set with round cut black spinels, suspended from inverted pear shaped studs, similarly set with black spinels, totalling over 4cts, all sparkling in the light, from within the black rhodium, rhodium vermeil and silver setting; 1.4 inches (3.8cms) long
Swarovski - Faceted Crystal Tea light Candle Holders Collection of ( 4 ) In Total, Various Sizes. Comprises 1/ Ambiray Candle Holders ( large ) 4.75 Inches - 11.95 cm. 2/ Ambiray Candle Holder ( medium ) 3.25 Inches - 8.20 cm. 3/ Ambiray Candle Holder, 2 Inches - 5 cm. 4/ Pair of Swarovski Tea light Shimmer Candle Holders. All Pieces are 1st Quality, Never out of Box, Mint Condition. All Pieces with Boxes, Outer Boxes, Certificates and Receipts.
Hornby-Dublo 00 Gauge EDP1 Passenger Set, comprising LNER blue No 7 'Sir Nigel Gresley', two teak coaches, track, transformer, fuses and spanner, in original box, VG, some corrosion to loco from card, box G, scuffing to lid, together with D1 NE First/Third coach in light blue box dated 7-48, E, box G and unboxed All 3rd teak coach G (3)
Hornby-Dublo 00 Gauge EDG7 Tank Goods Set, comprising LNER green 0-6-2 Tank Engine, three trucks, track and controller, in original box, VG-E, small bit of whiting to one hand rail from card insert, box G, two lid corners loose, together with various goods rolling stock including tank wagons, in light blue (4) and dark blue (11) boxes and five loose wagons, G-E, boxes F-VG (21)
Lionel Jeffries Signed photo black and white 10 x 8 inch. From Kill Or Cure. Dedicated Stan. Inscribed Best wishes. Condition report out of 10, 8. 1"x0.5" light brown patch at top of photo; scuffing and a few minor creases to white border mainly at corners. All autographed items are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Kieron Moore Signed photo black and white 10 x 8 inch. Dedicated To Gerald. Inscribed With very best wishes, God bless. Condition report out of 10, 7. Minor scuffing to white border at corners and edges; one crease across black patch of print area at top l-h corner, only visible when held up to light. All autographed items are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Janet Munro Rare Signed photo black and white 10 x 8 inch. From The Day The Earth Caught Fire. Inscribed Best wishes. Condition report out of 10, 5. Some fading, fully legible, some loss of contrast against light grey areas of background. Minor scuffing to white borders at corners and r-h edge. Scarce autograph she died in 1972 at just 38 years old. All autographed items are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
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