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Lot 139
* GERARD PUVIS (FRENCH b 1950 - ), JEUNE ET VIEUX (young and old) oil on canvas, signed 160cm x 120cm (approximately 63 x 48 inches) Unframed, as intended Provenance: Private Edinburgh collection. Acquired 1988 from the Alain Blondel Gallery, Paris. Jeune et Vieux depicts the ballet dancer Serge Lifar, in old age and youth. Note: Since leaving Lyon's Ecole Nationale Superieure des Beaux Arts in the early 1970s, Puvis has made a name for himself with large-scale paintings, murals and sculptures. As well as having received numerous awards, his work is held in the permanent collection at Paris’s Pompidou Centre. Gerard Puvis's work has been widely exhibited in multiple solo and group shows in Paris, around France, in Belgium, Germany, Spain, Austria, Switzerland, Sweden, Italy, Japan and the US. Note 2: Serge Lifar was prominent among those who introduced neo-classical ballet. He was appointed Maître de Ballet of the Opéra de Paris, from 1930 to 1944 and again from 1947 to 1958. Serge Lifar endeavoured to restore technical excellence of the Ballet de l'Opéra de Paris, making it, from the 1930s to this day, one of the greatest ballet companies in the world.
Lot 43
Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.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
Lot 221
AN APPLIQUE FELT MIHRAB HANGING, BANYA LUKA, OTTOMAN BALKANS, FIRST HALF 19TH CENTURY of rectangular form, the design comprising a polychrome central floral arch containing a stylised tree of life, surrounded by a scrolling floral border fringed with scale pattern, laid onto cloth backing 169 x 104cm
Lot 407
A HEREND LEAF SHAPED PICKLE DISH, WITH SCALE PUCE GROUND, AN ADDERLEY EARTHENWARE MODENA PATTERN BOWL, PRINTED AND PAINTED WITH PEONIES IN COBALT AND GILT BORDER, A 19TH C STAFFORDSHIRE FLATBACK SPILL HOLDER GROUP AND ANOTHER OF THE DEATH OF THE STAG, TWO GERMAN FAIRINGS C1870, ETC As a lot, in good condition
![Speed (John) The North and East Ridins of Yorkshire, John Sudbury and George Humbell, 1610 [1611], hand-coloured engraved map](https://cdn.globalauctionplatform.com/5965b0c8-046f-4845-ad8e-ac4400bf696f/8d36e485-0748-42ec-9ff4-ac6b00901da9/468x382.jpg)
Lot 3165
Speed (John) The North and East Ridins of Yorkshire, John Sudbury and George Humbell, 1610 [1611], hand-coloured engraved map, 388mm x 505mm, English text on reverse (pages 81-82, signature X1), small tear (without loss) above scale, small hole in upper margin, framed close to side borders, perspex glazing front and rear. [Whitaker p.9]
Lot 233
SCOTTISH MAHOGANY STICK BAROMETER, ADIE, EDINBURGH EARLY 19TH CENTURY the swan neck pediment with ivory roundels above a silvered Vernier scale signed A. Adie/ Edinburgh, above a plain shaft terminating in a semispherical cistern cover(95cm high)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 92
FOUR ENGLISH SPARROW BEAK PORCELAIN CREAM JUGS 18TH CENTURY to include a Lowestoft jug decorated with flower sprays and a pink scale border, 10cm high; a smaller Lowestoft jug decorated with a cornucopia and pink scale border, 8cm high, both with Klaber & Klaber labels; a Worcester 'Mandarin' type jug, unmarked, 8.5cm high; and a Liverpool jug painted with flower sprays, 9cm high
Lot 287
A mid Victorian engraved mother of pearl combination sewing and drafting set labelled for ‘L. Leuchars’, the rectangular case with canted lid and engraved with leaf scrolls with a central silver lid tablet, the interior with red velvet lid panel over a flush fitted tray with engraved border silver thimble, steel scissors, fish form silver bodkin, a mother of pearl stiletto a/f, and a silver jewel top pencil, two fittings lacking. The lower tier with a folding engraved silver 6 ins. rule, a set of silver mounted steel dividers and a rectangular mother of pearl box with sliding lid containing a mercury thermometer the scale engraved ‘Huntley, London’, printed label ‘L. Leuchars, 38, Picadilly, London’, below a crown, box 15 x 8 x 4cm.
Lot 567
A good 19th Century porcelain cylinder bodkin case, in the style of Meissen, the lower section with a gentleman and lady beside a garden pedestal, a house beyond amid trees, the upper section of the same scene with the figures more closely engaged, purple scale borders, gilt upstand and ferrule, the top painted with flowers, the base with mark of a crown over JC in under glaze blue, 14cms.
Lot 600
Miniature and small scale scissors, comprising a steel pair the arms in the form of an owl, 4cms, another pair the arms as a hare, 4cms, two miniature modern pairs, an 18th Century pair with silver handles, blades detached at rivet, 6cms, a pair with gilt arms and loops, 5.5cms, and a doll’s darning mushroom in alternate woods, 4cms. (7) From a European Collection
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185385 item(s)/page