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Lot 21
WIKING über 120 Fahrzeugmodelle im Maßstab 1: 87 verschiedene PKW, LKW, Kleintransporter, Anhänger u.a., überwiegend nach 1985, ohne Verpackung, tlw. mit Preisaufkleber (Zugehörigkeit nicht geprüft), Zustand nur oberflächlich geprüft.| WIKING over 120 vehicle models on a scale of 1: 87, various cars, trucks, vans, trailers, etc., mainly after 1985, without packaging, some with price stickers (affiliation not checked), condition only superficially checked.
Lot 9
12-tlg Konvolut Fahrzeugmodelle verschiedener Hersteller "Edition Deutsche Post" im Maßstab 1:43 bestehend aus PREMIUM ClassiXXs: VW T2a Hochraumkastenwagen, MB L3500 "Dt. Bundespost", MBLA 911 "Katastrophenschutz" und Phänomen 4RL/K "Dt Reichspost"; SCHUCO: MB L 319, Hanomag ST 100, 2 x Hanomag Komissbrot und Büssing 8000 "Danzas" mit Anhänger; MINICHAMPS: VW 1600 Variant "DBP" und Trabant 601S Universal "Dt. Post" sowie DINGLER: nostalgischer Bus, meist limitierte Ausgaben, alle in der Originalverpackung, schöner Erhalt.| 12-piece mixed lot of vehicle models from different manufacturers "Edition Deutsche Post" on a scale of 1:43, consisting of PREMIUM ClassiXXs: VW T2a high-capacity van, MB L3500 "German Federal Post", MBLA 911 "Catastrophe Protection" and phenomenon 4RL/K "German Reichspost"; SCHUCO: MB L 319, Hanomag ST 100, 2 x Hanomag Komissbrot and Büssing 8000 "Danzas" with trailer; MINICHAMPS: VW 1600 Variant "DBP" and Trabant 601S Universal "Dt. Post" as well as DINGLER: nostalgic bus, mostly limited editions, all in the original packaging, nice condition.
Lot 3
"Madonna and Child in Majesty". Polychromed wood. Aragonese or Catalan workshop?. Gothic. 14th century.64 x 19 x 22 cm.The cult of the Virgin Mary would not reach a preeminent place in Christian art until the twelfth century, becoming one of the favorite iconographies in religious imagery throughout the thirteenth and fourteenth centuries. This beautiful Maiestas Mariae or Madonna and Child in Majesty, heiress of the Byzantine Theotokos, is an exceptional example of the level achieved by local workshops, quasi-artisans who worked at the beginning of the Gothic period in Aragon, or perhaps in Catalonia, in which, despite being quite modest in scope, the sculptures are outstanding in their somewhat naïve charm. The theme of the Virgin Mary as the throne of Christ enjoyed great popularity, which led to the development of numerous typologies and variants. In this case, Mary is represented with an elongated canon, perceptible especially in the body and hands. There is also a slight anatomical disproportion in the legs, which are too short for such a model. She is sitting on a bench without a back. She has an oval face with barely carved facial features, which are perceptible mostly through the polychrome applied to the curved eyebrows, large almond-shaped eyes and closed mouth. The latter has thick red lips. At the sides are polychromed rosy cheeks. There is a prominent thick nose, powerful chin, and cylindrical neck, almost the same thickness as the head. She wears a simple golden headdress that covers both the hair and the ears, falling on both sides of the face. Clothed in a reddish tunic, her neck is traversed by a golden border, in which there are golden dots which even have schematic geometric motifs on them. Above it is a bluish mantle that falls down her back and is gathered at her knees, so that the Child can rest on it. The feet are encased in sharp-tipped shoes. The Madonna’s right hand is missing, in which she may have carried some attribute or fruit – perhaps it was the often used apple that symbolizes her victory over sin and her conversion into the new Eve –while with her left hand she holds her Son, whom she has place on her left knee – this typology is one of the most popular. According to Georg Weise it has its origin in Our Lady of the Slave from the Vitoria Cathedral, dated to the late thirteenth century. The Christ Child, as usual in this period, is not a child, but an adult on a smaller scale. The face and hairstyle are a repetition of those of the Mother, although in this case the headdress is replaced by blond hair. He wears a tunic that completely covers his body. It is white, with the neck traversed by a golden border, and is completely covered by stylized floral decorations. Like the Mother, the left hand, in which he would have held the orb of the world, is missing. Although during the Gothic period an affectionate communication between Mother and Son was developed, in this example there is a noticeable lack of communication in addition to a slight stiffness to both figures only broken by the slight turning of Mary's face to the right and the Son to the left. Although it is difficult to establish a chronology and a specific affiliation for this type of carving, especially for these cases in which its great antiquity is joined to the fact that it is the product of a small, local artisan workshop, the sculpture could date to the fourteenth century and is perhaps from some Aragonese or Catalan workshop. We would like to thank Dr. Javier Baladrón, PhD in History of Art, for the identification and cataloguing of this lot.
Lot 105
Zenith. Montre bracelet en or jaune 18K (750) avec date mouvement automatiqueZenith. An 18K gold automatic calendar chronograph wristwatchModel: El Primero Chronomètre '700 ans Confédération Helvétique'Reference: 30.0220 400Date: Purchased 7th January 1992Movement: 31-jewel Cal.400 automatic, No.86308Dial: White, applied alternating double and single gilt baton hour markers, black outer 1/5th second divisions, black outer tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, gilt polished baton hands, centre chronograph handCase: Polished tonneau form, snap on back, back engraved '700 ans Confédération Helvétique' with a map of Switzerland, No.104Strap/Bracelet: Brown leather Buckle/Clasp: Signed 18K gold buckleSigned: Case, dial & movementSize: 40mm Weight: 81,71g Accompaniments: COSC Certificate and Guarantee certificate dated 07/01/1992For further information on this lot please visit Bonhams.com
Lot 128
Montblanc. Chronographe bracelet en acier avec date mouvement automatiqueMontblanc. A stainless steel automatic calendar chronograph bracelet watch Model: MeisterstuckReference: 7016Date: Circa 2000Movement: 25-jewel Cal.4810 501 automaticDial: Black, applied polished Arabic numerals, white outer 1/5th second divisions, raised outer tachymetre scale, day and date apertures at 3, subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, polished leaf hands with luminous inserts, centre chronograph handCase: Polished round, snap on exhibition back, crown flanked by twin buttons, No.PL46198Strap/Bracelet: Fitted brushed and polished brick linkBuckle/Clasp: Signed double folding claspSigned: Case, dial & movementSize: 38mm Accompaniments: Montblanc box, outer card, undated Guarantee bookletFor further information on this lot please visit Bonhams.com
Lot 131
Breitling. Chronographe bracelet en acier avec date mouvement automatiqueBreitling. A stainless steel automatic calendar chronograph wristwatch Model: ChronomatReference: B30012Date: Circa 1997Movement: 21-jewel ETA Cal.2892-2 automaticDial: Blue, applied luminous baton hour markers, gilt outer 1/5th second divisions, raised blue outer tachymeter scale, gilt edged and engine turned subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, gilt pointed baton hands with luminous inserts, gilt centre chronograph handCase: Brushed and polished round, screw down back, calibrated and ratcheted uni-directional bezel with gilt riders, screw-down crown flanked by twin chronograph buttons, No.4143Strap/Bracelet: Blue shark leatherBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 37mmThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 134
IWC. Chronographe bracelet en acier avec date mouvement quartzIWC. A stainless steel quartz calendar chronograph bracelet watch Model: GSTReference: 3727Date: Circa 1998Movement: 25-jewel quartz, No.3141870Dial: Black, polished and faceted bullet hour markers, white outer 1/5th second divisions, raised outer tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, date aperture at 6, polished pierced and pointed baton hands, white centre chronograph handCase: Brushed and polished round, screw down back, screw down crown flanked by twin buttons, No.2926203Strap/Bracelet: Fitted brushed linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 36mmFor further information on this lot please visit Bonhams.com
Lot 146
Breitling. Chronographe bracelet en acier avec date Edition Limitée avec micro antenne reliée à la fréquence d'urgence de l'aviation civile mouvement quartzBreitling. A Limited Edition stainless steel quartz chronograph wristwatch with micro antennas for aviation emergency frequencyModel: EmergencyReference: A.73321Date: Purchased 11 November 2002Movement: Jewelled quartzDial: Black, applied Arabic numeral hour markers with luminous filled quarters, white outer minute divisions with 5 minute luminous filled markers, white raised outer tachymetre scale, date aperture between 4 and 5, silvered engine turned subsidiary dials at 2, 6 and 10 for seconds, 1/10th second and 12 hour recording, polished pointed baton hands with luminous inserts, polished red tipped centre chronograph handCase: Brushed and polished tonneau form, back secured by 4 screws, signed screw down crown flanked by twin pushers, calibrated bi-directional bezel, micro antennas between the lugs at 6, No.613626Strap/Bracelet: Black leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 46mm Accompaniments: Breitling Emergency case, outer card, fitted Breitling box, Breitling Punched International Warranty, Instruction booklet, VHS Emergency Movie, Emergency Test Receiver, mini screw driver, Service receipt, purchase receipt, swing tag, one spare Breitling black rubber strapFor further information on this lot please visit Bonhams.com
Lot 20
Montre de gousset à clapet en or jaune 18K (750) chronographe à répétition des quarts remontoir au pendantAn 18K gold keyless wind quarter repeating chronograph full hunter pocket watchDate: Circa 1900Movement: Swiss lever, anchor escapement, cut and compensated bi-metallic balance, column wheel chronograph, two hammers striking on two gongsDial: White, black Arabic numeral hour markers, black outer minute and 1/5th second divisions, black outer 300 scale, subsidiary seconds at 6, blued steel spade hands, centre chronograph handCase: Polished round hinged, chronograph button at 12 and repeat button at 6, No.18176Size: 55mm Weight: 97,65gFor further information on this lot please visit Bonhams.com
Lot 30
Universal Genève. Chronographe bracelet en acier mouvement mécaniqueUniversal Genève. A stainless steel manual wind chronographModel: CompaxDate: Circa 1940Movement: Jewelled Cal.281 manual wind Dial: Light bronze, black numeral Arabic hour markers, black outer 1/5th second divisions, black outer tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, blued steel pointed baton handsCase: Polished tonneau form, snap on back, crown flanked by twin pushers, No.680511Strap/Bracelet: Brown leatherBuckle/Clasp: Steel buckleSigned: Case, dial & movementSize: 30mmFor further information on this lot please visit Bonhams.com
Lot 40
Vulcain. Chronographe bracelet en acier et plaqué chrome mouvement mécaniqueVulcain. A stainless steel and chrome plated manual wind chronograph wristwatch Date: Circa 1940Movement: Jewelled manual wind, column wheel chronographDial: Silvered, black Arabic numeral hours markers, black outer 1/5th minute and second divisions, blue inner tachymetre snail scale, subsidiary dials at 3 and 9 for seconds and 45 minute recording, blue outer telemetre scale, blued steel pointed hands, blued steel centre chronograph handCase: Polished round, snap on back, crown flanked by twin pushers, No.35624EStrap/Bracelet: Dark blue alligator leatherBuckle/Clasp: Steel buckleSigned: Case & dialSize: 38mmThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 84
Rolex. Beau chronographe bracelet en acier mouvement mécaniqueRolex. A fine stainless steel manual wind chronograph bracelet watch Model: Cosmograph DaytonaReference: 6239Date: Circa 1968Movement: 17-jewel Valjoux Cal.722-1 manual wind, column wheel chronograph, adjusted to 3 positionsDial: Black, applied polished baton hour markers, white outer 1/5th second divisions with luminous dot five minute markers, sunken engine turned silvered subsidiary dials at 3, 6 and 9 for constant seconds, 30 minute and 12 hour recording, polished baton hands with luminous inserts, arrow tipped chronograph handCase: Brushed and polished tonneau form, screw down back stamped C.R.S inside, screw down crown flanked by twin pushers, fixed bezel with calibrated insert, No.2003203Strap/Bracelet: Fitted brushed 7835 Oyster folded link, end links stamped 257Buckle/Clasp: Signed folding clasp, stamped 1 69Signed: Case, dial & movementSize: 37mmFootnotes:The reference 6239 was the first model of the Daytona series, available in Europe in 1964. The model was produced in stainless steel, 14K gold and 18K gold, and was Rolex's first chronograph model to feature a tachometer scale on the bezel. To further enhance legibility on the dial, the subsidiary dials were printed in a different colour than the main dial. Early models featured only the designation 'Cosmograph' on the dial, with 'Daytona' being added to later series, after Rolex became associated with the NASCAR car races.For further information on this lot please visit Bonhams.com
Lot 88
IWC avec Porsche Design. Chronographe bracelet en aluminium et PVD noir avec jour et date mouvement automatiqueIWC with Porsche Design. A black DLC coated aluminium automatic calendar chronograph bracelet watch Reference: 3701Date: Circa 1980Movement: 17-jewel Cal.790 automatic, adjusted to 5 positions, No.2349579 Dial: Black, luminous dot hour markers, white outer minute divisions, day and date aperture at 3, subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, white baton hands with luminous inserts, red centre chronograph handCase: Black PVD coated round, screw down back, tachymetre scale to bezel, crown flanked by twin chronograph buttons, No.2323696Strap/Bracelet: Fitted black DLC coated linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 41,5mmFor further information on this lot please visit Bonhams.com
Lot 119
A Liberty pewter shield shaped brooch with centre hammered copper effect panel, signed verso, (d:5cm) an anodised brass lacquered C scroll shaped brooch, a pair of lion head white metal indented earrings with pierced eyes and nose, (d: 4cm) and a white metal fish scale articulated necklace, (L: 20cm)
Lot 4050
James Bond 007 - Danbury Mint Aston Martin DB5, 1:24 scale authorised replica of the car driven by Bond in Goldfinger and Thunderball, , with instructions and original packaging. Condition Report: front drivers wheel and sunroof present but detached, rear bumper a little loose, a few detached small parts such as springs are present and stored within the car's interior.
Lot 4061
James Bond Skyfall (2012) - A prop door handle from the Skyfall Lodge. The twist effect handle with central bracket made from rubber to imitate iron. In the Film, the Skyfall House was perceived to be situated in Glencoe, however the House was actually purpose-built from scratch at Hankley Common in Surrey, whilst interior shots were filmed on a soundstage at Pinewood Studios. The full scale set was constructed from plywood & plaster which was destroyed in the Films explosive finale. Set in a framed display (18x11.5x2 inches) with a corresponding still. Provenance: Obtained from one of the Films Prop Masters. Accompanies a five page Location Prep & Map from Pinewood Studios dated 23rd January 2012, choreographing the Skyfall Lodge scenes.
Lot 4062
Collection of James Bond items - 5 x 007 BMW models to include, Z8 from 'The World Is Not Enough' 1:8 and also a 1:43 scale version, Z3 Roadster from 'GoldenEye' 1:18, 750 iL from 'Tomorrow Never Dies' 1:24, R 1200 C from 'Tomorrow Never Dies' 1:18. Also to include is a James Bond 007 Secret Service Game made by Spears Games as well as as a BMW M Roadster 1:43.
Lot 4095
Captain Scarlet - Large reproduction puppet character by This Planet Earth from 2004, number 70 and boxed, with a Radio Control Spectrum Pursuit Vehicle 1:18 scale by Carlton, boxed (2). Condition Report: This Captain Scarlet puppet replica done to original dimensions as a one off, as the model maker had neglected to realise that Captain Scarlet wore a wrist watch, and so added this just for this copy.
Lot 125
Three boxed Corgi "Passage of Time" celebrating 70 years of the famous Leyland Clocks die-cast lorries (1:50 scale) including W.Holden Ltd V8 wheel platform lorry with generator and Hook clock, Walter Southworth Ltd Leyland octopus platform lorry with Vats & Cape Town clock and Anderson of Newcastle mammoth major 8 wheel tipper with coal load and Lea Clock.
Lot 136
Three boxed Corgi "Passage of Time" celebrating 70 years of the famous Leyland Clocks die-cast lorries (1:50 scale) including Henry Long Ltd mammoth major platform lorry with wool bale load, W.H.Bowker Ltd invincible platform lorry with fruit box load with shap clock and T.Brady & Sons Ltd Leyland octopus platform lorry with steel bar load & Lostock hall clock.
![Ordnance Survey.- [Ordnance Survey of England and Wales, on the Scale of One Inch to a Mile], 111 map sheets numbered 1 to 11](https://cdn.globalauctionplatform.com/619f653b-98ff-4bdf-9ce7-aff900c462e6/49550b4e-059d-43ee-854e-aff900ca04a3/468x382.jpg)
Lot 207
Ordnance Survey.- [Ordnance Survey of England and Wales, on the Scale of One Inch to a Mile], 111 map sheets numbered 1 to 110 as per the "original" numbering system, with 68 [NE Norfolk] in 2 parts, engravings, many with original hand-coloured county divisions, each sheet approx. 660 x 980 mm (26 x 38 1/2 in), dissected and mounted on linen, bearing the mapseller's red star label of J. Gardner, sole agent, on verso, minor occasional spotting and surface dirt, folding with green morocco gilt numbered thumb tabs, tab to sheet 100 missing, map sheets 97-110 appear to be from a [?]later edition without hand-colouring, all folding without slipcases, 4to, Colonels Mudge, Colby and others, The Tower, circa 1805-90; together with 4 variant summary publications on the Maps, Plans, and Other Publications of the Ordnance Survey, original paper wrappers, 1875, 1890, 1897, and 1903
Lot 179
Indonesia.- Java.- Chatelain (Henri Abraham) Carte de l'Ile de Java: Partie Occidentale, Partie Orientale. Dressee Tout Nouvellement sur les Memoires les Plus Exacts, large-scale chart of the island of Java, inset map in the lower left showing harbour and plan of Batavia, present day Jakarta, numerous text descriptions surrounding the map, engraving with fine early hand-colouring, on two sheets of laid paper conjoined, platemark 380 x 865 mm (15 x 34 in), sheet 445 x 1000 mm (17 1/2 x 39 1/2 in), old folds as issued, minor handling creases, some faint surface dirt and light toning, one or two small marginal nicks, unframed, 1719.
Lot 37
Wiltshire Estate Map.- Joliffe (Richard, Surveyor) A Mapp of Milkhills, Belonging to Robt. Eyre Esqr. of New-House, In the County of Wilts, manuscript estate map of land near Redlynch, title in the upper right quadrant, compass rose in the lower left corner, north oriented to the upper left, scale in the lower right corner, pen and ink, watercolour wash, numerous ink and pencil annotations, all within a green and white watercolour wash border, on vellum, 755 x 835 mm (29 3/4 x 32 3/4 in), some creasing, small marginal losses and pinholes, minor surface dirt and old damp-stains, mainly marginal, unframed, [circa 1730s]
Lot 39
Newhouse, Wiltshire Estate Map.- Joliffe (Richard, Surveyor), attributed to. A Plan of Newhouse Farme, very large manuscript estate map, title in the upper right quadrant, compass rose in the lower left corner, north oriented to the upper left, scale in the lower left corner, pen and ink, watercolour wash, numerous ink and pencil annotations, all within a red and yellow watercolour wash border, on two sheets of vellum conjoined, 1310 x 1070 mm (51 1/2 x 42 in), mounted on conservation support, some creasing, marginal losses and other losses carefully replaced in facsimile, some surface dirt and old damp-stains, mainly marginal, unframed, 1734⁂ Monumental estate map.
Lot 40
Lost Gardens of Newhouse.- Anonymous (English surveyor, active circa 1740s) A Mapp of the Kichen Gardens Belonging to Robert Eyre Esq. In White Parrish in Wilts. Survey'd September 1746, detailed map of the 18th century working kitchen gardens of Newhouse Estate, on 'a scale of 40 perches', with two columns to the left and right margins identifying details within the garden, mainly 'Fruit hedges', with a separate key identifying 'The Partes of the Garden and their names with the marks', which includes separate sections for asparagus, artichoke, raspberry, cherry, melon, and 'The bee garden', amongst others, pen and brown ink with watercolour, on three sheets of laid paper conjoined, total sheet 330 x 950 mm (13 x 37 1/2 in), mounted onto conservation paper support, some small losses, mainly to extremities, old handling creases, surface dirt, unframed, 1746Provenance:Newhouse Estate;Then by descent to the present owners ⁂ Rare 18th century record of a now lost garden, specifically the "Kichen" garden of Newhouse, Wiltshire. Executed by an unrecorded surveyor on behalf of Robert Eyre (c.1693-1752), the eldest son of Sir Robert Eyre, MP, of Newhouse, and his wife Elizabeth Rudge, daughter of Edward Rudge of Warley, Essex.
Lot 38
Newhouse, Wiltshire Estate Map.- Joliffe (Richard, Surveyor) A Map of Newhouse Farme &c., In Com. Wilts., manuscript estate map of Newhouse and its environs, title in the upper right quadrant, compass rose in the lower left quadrant, north oriented to the upper left, scale in the lower right corner, pen and ink, watercolour wash, numerous ink and pencil annotations, on vellum, 1150 x 900 mm (51 1/2 x 42 in), mounted on linen, remnants of green silk edging, heavy creasing, surface dirt, spotting, and old damp-stains, unframed, 1731
Lot 11
Constantinos Volanakis (Greek, 1837-1907)Vue de Lavrio, une pairea) signé en grec (en bas à gauche)huile sur panneau46 x 63.5cm (18 1/8 x 25in).signed in Greek (lower left)oil on panelb) signé en grec (en bas à gauche)huile sur panneau45.5 x 63.5cm (17 15/16 x 25in).signed in Greek (lower left)oil on panel(2)Footnotes:ProvenanceStavros Mihalarias Art, Greek and Foreign Painters and Marine Subjects, Athens, June 6, 1988, lot 69.Private collection, Athens.LittératureS. Lydakis, Volanakis, Adam editions, Athens 1997, pp. 36, 37 (illustrated).This luminous open panorama of Lavrio—a rugged area in eastern Attica, near Athens, where the ancient silver mines1 were located—evokes the vast scale of land, sea, and sky, bearing witness to the skills which established Volanakis as a master landscapist. The loving delicacy with which the artist observed nature extends to the scene as a whole, capturing the stillness of the hour. His depiction of the calm surface of the sea intersected by tree trunks is a combination of realistic and romantic elements in a harmonious composition and a lyrical interpretation of the landscape.Using his favourite sickle-like curve at the centre of the composition to draw a bay that cuts deep into the land, the artist generates a powerful movement that directs the eye to the group of buildings on the right. This dynamic thrust is counterbalanced by the dramatic sweep of the weather beaten trees on the left, used here as organizing motifs to form a vertical link between land, sea, and sky and lend the picture its coherence and harmony. The highly expressive forms of the tree branches further enliven the scene, charging the entire composition with a poetic charm and imbuing it with an air of spontaneity and freshness. (Compare a similar view of Lavrio by Nikiforos Lytras, c. 1871). 1 During the Classical period, much of the wealth from the mines financed the construction of the Athenian fleet as well as many of the city's major building projects. Abandoned in the 6th c. AD, the mines reopened in 1859, headed by Giovanni Battista Serpieri, who owned a fine collection of 19th c. Greek Art.For further information on this lot please visit Bonhams.com
Lot 29
Alecos Fassianos (Greek, 1935-2022)La petite terasse, 1978 signé 'A. Fassianos' (en haut à gauche) et daté '1978' (en haut à droite); signé, titré et daté 'FASSIANOS LA PETITE TERASSE 1978' (sur le châssis)huile sur toile96.5 x 146cm (38 x 57 1/2in).signed (upper left) and dated (upper right); signed, titled and dated ' (on the stretcher)Footnotes:ProvenanceGalerie Beaubourg, Paris.Private collection, Athens.LittératureJ.M. Drot, La Volupté Mythologique, Galerie Beaubourg, Paris / Marval, Paris / Ileana Tounta, Athens / Bernard Voisin, Chenonceau, 1985, p. L under the title La gare d'Olympia avec poisons (illustrated).Captured in Fassianos's extraordinary signature blues, this striking canvas seizes the moment through timeless forms, integrating many of the defining elements of the artist's universe: the graceful corporeal figures, the small fish of the Aegean, the simple scarf, the straw chair, the humble flowers in a vase, the ubiquitous bicycle on the extreme right. 'Blue is the colour in which Fassianos discovered himself' notes Nobel laureate O. Elytis. 'A colour which he voiced in every scale, distilling one tone into another, yet ensuring that they retain their limpidity, never losing a fraction of their profound, deep-sea magic.'1 Drawn in sharp profile and set against a solid background that accentuates their monumental scale, two ordinary friends are remoulded into archetypal figures echoing the timeless symbolism of ancient Greek vase iconography. 'The wind which tosses the hair of Fassianos's figures is the same wind which pervades Homer's epics and fills Odysseus's sails on his way to meet the Sirens.'2 1 O. Elytis, 'The Fassianos we Love', preface to A. Fassianos, exhibition catalogue, Zoumboulakis Galleries, Athens 1977.2 J. Lacarriere, 'A Shadow Play' in Fassianos - Mythologies of Everyday Life, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2004, p. 24.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 32
Nikolaos Gyzis (Greek, 1842-1901)Mère au berceau signé 'N. Gysis' et monogramme 'N.G' (en bas à droite)huile sur panneau 73 x 58cm (28 3/4 x 22 13/16in).signed and monogrammed (lower right) oil on panelFootnotes:ProvenanceLukas Akliros gallery, Berlin (from a stamp on the reverse).Vassos Falireas collection, GreeceBeatrice Spiliadis collection, Athens and thence be descent to the present owner.ExpositionsAthens, Iliou Melathron, Etairia Filotexnon, Exhibition of Works by Nikolaos Gyzis, March 15- May 15, 1928, no. 406, listed in the exhibition catalogue, pg. 20 (possibly).A master of genre painting, Gysis captures a vignette of rural life set in a spartan interior enlivened by the artist's vibrant brushwork and wonderful passages of colour. The painting is bathed in light which invades the scene from the left, highlighting the young mother and the child's cradle and making them glow with a shimmering luminescence. 'Gysis often used two kinds of lighting in his paintings: a general, diffuse lighting and a local one that highlighted the figures or objects he wanted to be particularly pronounced.'1 The generalised rendering, soft outlines and elimination of detail point to the artist's venture beyond the descriptive and the anecdotal and his ability to engage the viewer in the narrative by relying on purely pictorial means. Working within a subdued scale, Gysis suggests texture, space and atmosphere by subtle modulations of tone and intensity that demonstrate his amazing skill in the freer handling of form. Juxtaposing calmly handled surfaces to areas treated with swift, energetic brushstrokes, he simultaneously conveys a sense of reverence and cheerfulness, offering a genuine insight into the wonder of family and motherhood.'Praised like no other Modern Greek painter, Gysis, who lived and worked abroad, conveyed subjects of genuine Greek character, distinguished by vigorous palette in describing rural interiors, romantic disposition in relaying Greek traditions, familiarity and directness in portraying folk types and veiled nostalgia in capturing scenes of everyday life.'21 M. Kalligas, Nicholaos Gysis [in Greek], MIET edition, Athens, 1981, p. 74.2 M. Papanikolaou, Greek Nineteenth Century Genre Painting [in Greek], P. Pournaras editions, Thessaloniki 1978, p. 78.For further information on this lot please visit Bonhams.com
Lot 40
Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.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 56
Yiannis Tsarouchis (Greek, 1910-1989)Le café de Mavrokefalos signé en grec (en bas à droite)huile sur toile73 x 100cm (28 3/4 x 39 3/8in).Peint en 1971.signed in Greek (lower right) oil on canvasFootnotes:ProvenanceKokkas collection, Athens.Private collection, Athens.Expositions Ioannina / Xanthi / Rhodes, Techni Poliouchos, travelling group exhibition, Society for the Study of the Visual Arts - Ministry of the Interior, Public Administration and Decentralization, 2003-2004 (illustrated in the exhibition catalogue, p. 31).LittératureE. Florou, Tsarouchis – Painting, doctoral dissertation, Athens 1989, pp. 21, 108 (mentioned), p. 261 (listed), fig. 794.Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, no. 253 (illustrated).E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A.A. Livanis editions, Athens 1999, no. 946, pp. xxxiii, 127 (mentioned), 283 (catalogued).Dimotiki Icho newspaper, no. 4, December 2003, p. 16 (illustrated).Y. Bolis, Yannis Tsarouchis, Contemporary Greek Artists series, Ta Nea editions, Athens 2009, pp. 110-111 (illustrated).With penetrating realism, Tsarouchis captured the charming neoclassical façade of the Mavrokefalos coffeehouse1 on Panepistimiou St—a traditional Athens establishment frequented mainly by sailors and soldiers—in all its austere simplicity and noble restraint, conveying a sense of monumentality and timeless order. By focusing on rhythmical verticality, geometric purity of form, accuracy of design, compositional balance and stark juxtaposition of light and dark areas, the painter sought to underline, typify and ultimately mythologise the folksiness and 'Greekness' of his subject, investing it with a poetic aura and inner mystery that recalls the enigmatic façades of Giorgio de Chirico (compare The enigma of the hour, 1910).The foreground figures, set against a flat monochromatic backdrop interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, shadow-puppet folklore, and Theofilos's compositions—seem perfectly integrated into their surrounding space, imbuing the picture with a meditative feel and suggesting balance between the natural and the manmade. This subtle dialogue of monumental form and human scale creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity.'I first painted the Mavrokefalos coffeehouse in Paris around Christmas of 1950 from a small forgotten sketch of mine. I painted it twice. Once on a Christmas card, which I sent to Teriade, and a second larger one, which I sent to London with Elytis to be sold to an acquaintance of mine. The fact that I painted figures that did not dominate the painting with their size doesn't mean that my main concern was not finding the right proportions for the human figures in relation to their environment. The human presence in any work of mine is always the main subject no matter how small the figures are. The abstract harmony of a painting has never obliged me to neglect the human or humanistic element... All these coffeehouses took me a long time to make. I entered another world, both spiritually and pictorially.'2'To abandon drawing from models in the light of the studio in order to paint outdoors under the glare of the Greek sun and the shadows it casts, was for me an extreme departure. I hesitated to accept chiaroscuro with all its consequences because I feared that the pure structure of colours on canvas might be harmed. On the day I decided to abandon the lyrical and mystical interpretation of the world in order to discipline myself to see the exterior world objectively and narrowly, I felt as though my eyes had undergone an operation.'3 (Compare Y. Tsarouchis, Small coffee house in Athens / Kafeneion Mavrokefalou, Bonhams Greek Sale, November 25, 2014, lot 53). A cornerstone of urban genre, the traditional Greek coffee shop has always been a perfect place for philosophising and exchanging views on current events. Moreover, this engaging theme offered the artist the opportunity to express his love for the neoclassical architectural style. 'I was born in Piraeus in a neoclassical building and raised in two others, also neoclassical houses in Piraeus. For me, home meant only a neoclassical building. Later, when they started tearing them down one by one, I felt my life was being dismantled.'4 1 Tsarouchis also produced evocative renditions of the 'Neon' and 'Parthenon' coffee shops in the Omonoia Square district. 2 Y. Tsarouchis, 'Some Thoughts on my Works' [in Greek], The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 298-299; Yannis Tsarouchis-Painting [in Greek], Yannis Tsarouchis Foundation, Athens 1990, p. 51; N. Grypari, A. Szymczyk ed., Yannis Tsarouchis Dancing in Real Life, exhibition catalogue, Chicago 2021, p. 188. 3 Y. Tsarouchis, 'Notes and Speculations', Greek Heritage, the American Quarterly of Greek Culture, vol. I, no. 2, spring 1964, pp. 94-95.4 Preface to S. Skopelitis, Neoclassical buildings of Athens and Piraeus [in Greek], Dodoni editions, Athens 1975.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 64
Georgios Bouzianis (Greek, 1885-1959)Femme assise aux cheveux rouges signé 'Busianis' (en haut à droite); signé 'Busianis' (au revers)huile sur toile129 x 52.5cm (50 13/16 x 20 11/16in).Peint vers 1950.signed (upper right); signed (on the reverse) oil on canvasFootnotes:ProvenanceThe Artist's Estate.ExpositionsAthens, Exhibition Hall of the Parnassos Literary Society, Exhibition of Works by G. Bouzianis 1883-1959, May 28 - June 15, 1960, no. 21 (possibly).LiteratureZygos magazine, no. 10, August 1956, p. 10 (illustrated).Eikones magazine, no. 243, June 17, 1960, p. 23 (shown in a photograph of the artist's home studio).Zygos magazine, no. I-65, February 1965, p. 11 (illustrated).Zygos magazine, no. 37, September-October 1979, p. 26 (shown in a photograph of the artist's home studio).Bouzianis Watercolours, Agra editions - The Friends of Bouzianis', Athens 1982, p. 114 (shown in a photograph of the artist's home studio).Giorgos Bouzianis, Letters to H. Barchfeld, National bank of Greece Cultural Foundation, Athens 1989, fig. 33 (shown in a photograph of the artist's home studio).Commemorative Exhibition of Works by Giorgos Bouzianis, exhibition catalogue, Municipality of Daphni, 1993 (shown in two photographs of the artist's home studio).D. Deliyannis, Giorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 195, p. 31 (shown in a photograph with the artist's wife in his home studio, c. 1959), p. 291 (catalogued), 141 (illustrated).For over 60 years, this remarkable recent discovery by Bonhams has been accessible to scholarly research only though black and white photographs of the artist's Athens home studio taken circa 1959.A magnificent painting, whose large-scale format and signature style make it a quintessential Bouzianis from the 1950s, Seated woman with red hair fills the surface of the painting with her corporeal presence and statuesque calm, generating tension between bodily volume and pictorial space in the vein of Picasso's classic period in the 1920s. 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.'1 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.'2 In a 1960 article published in London's Studio magazine, art critic C. Spencer noted that 'in his draughtsmanship and handling of form Bouzianis 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.'3 Emerging from a shimmering ground of greens, greys, and blues Seated woman with red hair 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 figure—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.4A master of psychological interpretation and a true visionary, Bouzianis is an artist of international calibre. Being part of the interwar European avant-garde, he transcended the sterile academic tenets with an art of emotional and physical immediacy, seeking, as Oscar Kokoschka once said, to render the vision of people being alive.1 Y. Tsarouchis, preface to Bouzianis Watercolours [in Greek], Agra editions -The Friends of Bouzianis, Athens 1982, p. 12. 2 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. 3C.S. Spencer, 'George Bousianis', Studio magazine, London, vol. 159, no. 806, June 1960, p. 206.4 See G. Mourelos, 'Bouzianis's Technique' [in Greek], Kathimerini newspaper, Epta Imeres, October 27, 1996, p. 28.For further information on this lot please visit Bonhams.com
Lot 32
A group of 18th century Worcester and other porcelain to include a small plate decorated with blue scale ground ornament and floral cartouches; three blue and white saucers; two tea bowls; a Worcester blue and white three flower mustard pot; a Worcester bowl; A Worcester teapot decorated with a castle by a bridge; and a tea bowl and saucer decorated with floral spraysAll with some minor marks. The plate with wear to the gilding and some restoration to the edges. All other pieces with cracks and damages.
Lot 1443
A Worcester scalloped rim plate, circa 1760-75, painted with a central floral bouquet within garlands of puce flowers and foliage enclosed by a gilt overlaid and edged cobalt blue rim, underglaze blue painted 'W' mark to base, diameter 21cm, together with a scale blue ground Worcester plate, painted with gilt edged framed panels of birds and vessels, blue fretted square mark to base, diameter 21cm, a similar saucer dish, diameter 17.7cm, a blue ground Worcester teacup with matched saucer, painted with exotic birds (minor faults), and a waster from the Worcester factory site. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 1418
A matched pair of Worcester scale blue ground teacups and saucers, circa 1775, painted with gilt edged panels of exotic birds and insects, underglaze blue fretted square marks to bases, diameter of saucers 13cm, together with a similar teacup, painted with flowers, and a matching plate with wavy rim, diameter 19.5cm (haircrack). Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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