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Lot 57
An Early 20th Century Plated Three Division rectangular Tantalus of "Art Deco" design, on flat bun feet, 12.5is x 7ins x 13ins high, complete with three silver mounted and sliced cut glass square spirit decanters, the mounts by John Grinsell and Sons, Birmingham 1925, engraved with crest to base, each 7.5ins high, and stoppers for sameCondition Report - This tantalus retains both keys. One glass decanter with two very small chips along vertical edges. One other with one very small chip along one vertical edge, otherwise all glass parts appear to be in good condition, including stoppers. Silver collars to decanters are in good condition. The tantalus itself appears to be in good condition with no obvious damage/loss/restoration. The plating is more or less intact with just some very few small scattered areas of wear.
Lot 7
An American Sterling Silver Mounted and Glass Spirit Flask, stamped Davis & Freeman, with bayonet cover, simulated basket weave mount, removable cup applied with two gilt metal plaques, one engraved with crest the other with leaping fish, 8.5ins highCondition Report - Cover with dent to edge. Bayonet action to cover works well, as does hinge. Basket weave appears to be in good condition with no obvious damage/loss/restoration. The detachable base/cup has a small dent close to the base. The engraved detail of salmon and crest in good condition. The glass as far as can be determined is in good condition.
Lot 48
A Late Victorian Silver Circular Inkwell and Mixed Silverware, the inkwell maker's mark rubbed, London 1894, with reeded mounts and of fluted form, engraved with stag, initials F.E.G. and Roman numeral MCMI to lid, 4.25ins diameter x 2.5ins high, and with clear glass liner, a late Victorian silver mounted and clear glass spirit flask, London 189, with bayonet cover and removable cup, 4.5ins, and a small selection of other silver and silvery metalware, combined weighable silver 26ozs
Lot 173
2017 Caterham Seven Spirit Transmission: manualMileage:270The Caterham Seven Sprint is the latest in a long and incredibly varied line of models and was launched at the Goodwood Revival in September 2017. The Sprint is the company’s celebration of their 60th anniversary and, handbuilt at the factory by Caterham, only 60 were produced for the global market with the entire allocation quickly snapped up by enthusiasts. It was available in a limited range of heritage hues for the body and scarlet red Muirhead Scottish leather for the interior seats. With the style of the car reminiscent of the original Lotus 7 models, the engine is the same 80hp three-cylinder turbo-charged 660cc Suzuki engine as fitted to Caterham’s Seven 160, along with its five-speed gearbox, and the drivability and performance are said to be exciting.This particular example is number 27 of 60 factory built cars, registered by Caterham on 5th July 2017 and delivered later in July 2017. A one owner car, the bodywork is painted in Camberwick Green complemented by cream steel wheels with chrome hubcaps, whilst the interior has stunning Muirhead Scottish leather adjustable seats in scarlet red embossed with ‘CATERHAM’ on the backrest. The interior also features a bespoke Moto-Lita wooden rimmed sport steering wheel with engraved aluminium centre embossed with ‘Seven Sprint’. This car comes with optional extras including driver and passenger lowered floors, weather equipment with cream piping, heated windscreen and heater. A real collector's item, this example comes with little over delivery mileage and benefits from a recent service in November this year and a new MoT. This Caterham is as new and is sure to be very popular for those looking for not only a fabulous driver’s car but also an appreciating asset.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Lot 172
2000 Bentley Arnage Red Label Transmission: automaticMileage:79890Launched in 1998, the Arnage was manufactured in Crewe from 1998 to 2009 with its Rolls-Royce sibling, the Silver Seraph, introduced in the Spring of 1998. They were the first entirely new designs for the two marques since 1980 when the Silver Spirit and Mulsanne models were introduced. The new Arnage (Green Label) was to be powered by a BMW V8 engine with Cosworth-engineered, twin-turbo chargers and the Seraph was to employ a BMW V12 engine. The Arnage Red Label was launched in October 1999 with the engine reverting back to Bentley power using the traditional V8 engine and a displacement of 6750cc. As part of the modification process, both Red and Green Label cars benefitted from expanded leg room in the cabin, stiffer bodyshells and larger wheels and brakes.This lovely example is presented in metallic Garnet Black with black leather interior and Wildberry piping. It comes with satellite navigation with remote control, Alpine stereo with six CD player and remote control, memory electric heated seats to the front, electric sunroof, electric windows, rear walnut picnic tables, sheepskin rugs to footwells, air conditioning and cruise control. The car is accompanied by all its books and a good service history comprising of a mixture of Bentley dealership and specialist services and all receipts are present, with the last service being carried out at 77,400 miles. These wonderful superior and luxurious classic Bentleys present such value for money considering their original sale price.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Lot 127
1999 Bentley Arnage Green Label Transmission: automaticMileage:104310The Bentley Arnage was launched in 1998, a large luxury saloon car that replaced the previous Bentley Turbo saloon. Built in Crewe from 1998 to 2009, the Arnage and its Rolls-Royce sibling, the Silver Seraph, were introduced in the Spring of 1998 and were the first entirely new designs for the two marques since 1980 when the Silver Spirit and Mulsanne models were introduced. The Arnage Green Label was to be powered by a powerful BMW V8 engine with Cosworth-engineered twin-turbo chargers.Originally registered on 2nd April 1999, this Bentley is in the delightful colour combination of Peacock Blue with Parchment interior piped in blue. With 18 stamps in the service book, the last one at 104310 miles, it is clear this is a very well cared for example and sits on a well shod set of correct Avon Turbo speed tyres. The cabin area of these well-appointed vehicles is superb, with leather and wood in plentiful supply and as expected from such a prestigious marquee, the ride is exemplary. Fitted with the 4398cc BMW V8 engine, this Arnage is supplied with the original service books, two sets of keys, Wilton overmats and two umbrellas in the boot, together with a V5C registration document and a current MoT test certificate valid until 21st October 2022. Costing an eye-watering £145,000 when new, this Bentley is offered without reserve.Guide £11,000-£14,000Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Lot 121
1937 Bentley 4¼ litre Saloon by Freestone & Webb Transmission: automaticMileage:89750Bentley motorcars have always been built to be driven. That is as true today as it was in 1919 when W. O. Bentley designed the first vintage Bentley. The early history was written on the racetracks with the spirit of the Bentley Boys. They celebrated five magnificent Le Mans victories in the 1920's and in 2003, enjoyed a return to those glory years with a sixth win. When Rolls-Royce bought Bentley Motors, they shut down production of the 8 and 4½ litre. Then they had to decide what to do with the Bentley name as they couldn't afford to alienate their customer base and not build a new Bentley. The question was what sort of car to build; after several false starts, the Experimental Department developed a prototype car based on an earlier 18hp experimental chassis called the 'Peregrine' and a suitably tweaked 20/25hp engine; this combination proved to be a winner.Originally registered on 2nd March 1937 this Derby Bentley has been owned in the same family since 1986. The Freestone & Webb bodywork is a rare and unusual design often referred to as a ‘Top-hat’ roof line. The rest of the coachwork is in good proportion and this is a handsome 4¼ litre saloon. Having been off the road for the last 10 years, she will require work and recommissioning. Prior to being parked up she was running delightfully and the cylinder head has been converted to run on unleaded fuel. The registration number of DLP 52 is supplied with the Bentley and being a 4¼ litre saloon by Freestone & Webb, a very well respected coachbuilder, this is a car synonymous with British motoring heritage and as a complete example will make a very desirable projectInterested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Lot 361
A Presentation Silver Spirit Flask By Asprey & Co. Ltd., London Silver Hallmarks For 1912Of circular form with threaded cap, the front engraved 'MEALLMORE 1912 ANDREW GRIERSON FROM V.C.V. 3120 BRACE DALMAGARRY 613 ½ BRACE' (base with contemporary repair)9 cm. diam.Footnotes:Meallmore Lodge and Dalmagarry estate are both in Inverness-shire, Scotland. The former was built in 1869 as a hunting lodge for the Clan Macintosh and continues to operate as a sporting estate to this dayFor further information on this lot please visit Bonhams.com
Lot 53
Gwasg Gregynog.- Thomas (R.S.) Laboratories of the Spirit, number 146 of 215 copies, 1976 § Ormond (John) Cathedral Builders and other poems, number IV of 50 specially-bound copies, from an edition limited to 250, illustrations by the author, 1991 § Owen (Wilfred) Mapping Golgotha...Letters & Poems, number 85 of 200 copies, illustrations by Harry Brockway, 2007 § Herbert (George) Sundrie Pieces, number 14 of 215 copies, wood-engravings by Sarah van Niekerk, 2003 § Vaughan (Henry & Thomas) The Texture of the Universe, number 31 of 90 copies, wood-engravings by Hilary Paynter, 2010, original calf- or morocco-backed cloth or boards, some pictorial, some uncut, the last three with slip-cases, Newtown, Gwasg Gregynog; and 9 others, poetry, from the press, some pamphlets, v.s. (14)
Lot 398
Wilde (Oscar) The Sphinx, first edition, one of 200 copies, printed in green, red and black, illustrations by Charles Ricketts, bookplate to pastedown of R.H.S. Truell, original vellum, gilt, with designs by Charles Ricketts, 4to, Elkin Mathews and John Lane, The Bodley Head, 1894.⁂ A fine copy with no bowing of the covers of one of the landmarks of 1890s book production, overseen at the author's request by his friend the artist and typographer Charles Ricketts. Ricketts considered the designs for the illustrations and for the binding amongst his best illustrative work. The Pall Mall Budget reviewed, "The vellum binding, the various symbolic designs, the quaint rubicated initials and the general arrangement of the text, all by Mr Ricketts' sympathetic art, are most subtly infused by the spirit of the poem. The designs on the cover are particularly striking, and Mr Ricketts has never made a lovelier thing than the group of maidens clustering round "the moon horned Io" as she weeps." (21 June, 1894).
Lot 174
Three George III silver spirit or decanter labels: Whisky - Thomas Wallis, London 1808, Brandy and Gin - sponsors mark of Joseph Willmore, Birmingham 1808 and 1817, 4cm wide and less, 21 grams approxCondition report: Some light surface wear and scratches, some loss of definition to the decoration
Lot 214
Framed An American Quaker Map's the Paths of Life Fascinating pictorial allegorical map, illustrating the paths of life available to children (and as a teaching guide to their parents), published in London in 1794. The mapwas published by William Darton and Joseph Harvey, also Quakers, who specialized in publishing Quaker works, including those aimed towards children. The map has been attributed to American Quaker George Dilwyn, author of Occasional Reflections, Offered Principally for the Use of Schools (Burlington, NJ, 1815). The map begins with Parental Care Hall and progresses outward, offering multiple paths to Happy Old Age Hall, some of which are happy and blissful, others dark and tortured. The map is a product of the Quaker philosophy that children were not tainted with original sin and that proper parental guidance and strong (Quaker) community values would lead to a righteous path. It is also noteworthy that even the worst paths, no matter how diverted, included a route to the desired outcome, even if one had to pass through the Bottomless Pit to reach the Peaceful Ocean via Deep Repentance Valley. The map was apparently frequently used to create a puzzle to help teach moral values to children, offering a range of routes from Parental Care Hall at the top to – if they chose right – Happy Old Age Hall at the bottom. Should they travel via Dalliance Bench in Off-Guard Parish or Misery Square and Remorse Hedge, or via the Public Spirit Highway to Devotion Grove.36 x 42cm
Lot 96
An Edwardian black leather toilet case with silver mounts hallmarked 1901 and 1902Condition report: The outside of the case is sound with just a little insect damage to the bottom. The inside silk lining is in poor condition and the lock is broken and incomplete. The fittings include five cut glass bottles with silver lids in good condition (one dented) and hallmarked for London 1901 and 1902, other fittings for the same date are Birmingham hallmarked they include:- paper-knife and button hook, a glove stretcher (bent) part manicure set with four pieces. There is also a nickel curling tongs and spirit heater and a silver monogramed blotter
Lot 130
A Borneo ironwood Spirit House, 19th century, carved in the shape of a ship, the bowsprit and stern respectively carved as the head and tail of a dragon, on tall turned support with metal housing, 277cm high, 160cm wideCondition report: This item is all there, but having been kept outside, it is very weathered. Some of the fixings are loose, and there are likely small losses.
Lot 127
Theofilos Hadjimichael (Greek, 1871-1934)Célébrant le nouveau millésime de cognac à Pirée signé en grec et daté '1930' (en bas au centre) et inscrit en grec (eu haut)pigments naturels sur toile72.5 x 81cm (28 9/16 x 31 7/8in).signed in Greek and dated (lower centre) and inscribed with description in Greek (upper part) natural pigments on textileFootnotes:ProvenanceConstantinos Koumbas collection, MytileneInherited from the above by the present owner.ExposéMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 23 (listed in the exhibition catalogue).LittératureTheofilos, Commercial Bank of Greece edition, Athens 1966, no. 103 (illustrated).The Greek Painters - From the 19th to the 20th Century, vol. 1, Melissa editions, Athens 1974, p. 460 (mentioned).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 116 (illustrated).P. Zoitopoulos, Theofilos, the Ingenious Looney, Armos editions, Athens 2008, p. 44 (listed), p. 58 (discussed), fig. 15 (illustrated).M.G. Moschou, Theofilos Hadjimichael Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, Annex, vol. I, p. 12 (listed), fig. I-65 (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 67 (illustrated).E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, pp. 96-97 (illustrated).Vima newspaper, e-edition, February 19, 2012 (mentioned).https://slideplayer.gr/slide/2399136 (illustrated).https://paletaart3.wordpress.com/2014/10/24/ theofilos-chatzimichail (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.In 1926-27, following a forty-year odyssey, Theofilos returned to his native island of Mytilene, where he enjoyed a very creative and prolific period, during which he painted some of his best works.1. As noted by G. Samourkas, 'the artist's Mytilene period, which lasted eight years until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'2 As described in a lengthy inscription on the top3, this extraordinary picture shows a gathering of farmers in traditional fustanella kilts4 celebrating the arrival of the new vintage brandy. High-spirited men and women escort a horse-driven cart carrying a barrel with the precious eau de vie, while on top of it an old man posing as God Dionysus seems to preside over the bacchanalian revelry. All participants raise their glasses to the health of landowner and winemaker Andreas Kambas5 and his wife, who are shown on the upper left.Filtered through the artist's rich imagination, imbued with a spirit of untutored simplicity and handled with compositional discipline, confident brushwork and vibrant colour, the whole scene is transformed into the enthusiasm sparked in him by the joyous event. Every part of the picture, from the charming group of women in the extreme foreground to the stately winemaking facility in the distance, is an integral part of the whole, evoking a sense of home and domesticity. Everything seems to grow right out of the landscape, allowing the painter to express an overall feeling based on pure vision and emanating from life itself.The painter O. Kanellis, one of the first to discover the work of Theofilos, made the following insightful remark: 'Without realizing it, Theofilos sought to illuminate the truth of Greek nature with man being part of it. His paintings are fields of shapes and patches of colour that are integral to the natural environment, helping him express an overall feeling emanating from life itself, a feeling based on pure vision and the observation of nature. When we see an outdoor scene by Theofilos we hardly think that we see the landscape from a distance, but rather that we live in it, that we actually walk through it. Only Bonnard and Theofilos were able to convey this feeling.'6 1 N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens 1978, p. 153.2 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.3 Although the inclusion of written text reflects the artist's desire to provide a full description and leave nothing obscure, his fascination with the subject outrivals his insistence on topographical accuracy. (The celebration takes place in Kantza, rather than in Piraeus). See E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, p. 96.4 The same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute.5 The legendary 'patriarch' of Greek viniculture, Andreas Kambas was the first to introduce the French distillation knowhow to Greece by bringing over advanced distillation equipment from Bordeaux in 1880. 6 O. Kanellis, 'The Painter Theofilos' [in Greek], Tachydromos magazine, no. 379, 15.7.1961.Dans sa Mytilène natale, où il est revenu en 1926-27 après une odyssée de quarante ans, Theofilos a connu une période très créative et prolifique, pendant laquelle il a peint certaines de ses meilleures œuvres. Comme l'a fait observer G. Samourkas, « la période où Theofilos a vécu à Mytilène, qui a duré huit ans jusqu'à son décès, a été celle de la maturité ; ses dessins sont devenus plus aboutis, ses couleurs plus chaudes, ses compositions plus structurées, ses arrière-plans plus embellis et ses combinaisons de couleurs plus élégantes.» Comme le décrit la longue inscription figurant en haut du tableau, cette œuvre extraordinaire représente un groupe de fermiers vêtus de la fustanelle traditionnelle, célébrant l'arrivée du nouveau millésime de cognac. Des hommes et des femmes pleins d'entrain escortent une charrette tirée par un cheval, transportant une barrique de la précieuse eau de vie, tandis que le haut de la toile représente un vieil homme posant tel le dieu Dionysos, qui semble présider des bacchanales. Tous les participants lèvent leurs verres à la santé du propriétaire foncier et vigneron Andreas Kambas et de son épouse, représentés en haut et à gauche de la toile.Filtrée par l'imagination foisonnante de l'artiste, empreinte d'une simplicité naïve, traitée avec une grande maîtrise de la composition et de la touche, et animée par des couleurs vibrantes, toute la scène respire l'enthousiasme que cet événement joyeux inspire à l'artiste. Chaque partie de la toile, depuis le charmant groupe de femmes au premier plan jusqu'à la majestueuse exploitation vinicole au loin, forme partie intégrante de l'ensemble, évoquant un sentiment d'amour du terroir. Tout semble sortir directement du paysage, permettant ainsi au peintre d'exprimer un sentiment global fondé sur une pure vision et émanant de la vie... For further information on this lot please visit Bonhams.com
Lot 42
Theofilos Hadjimichael (Greek, 1871-1934)Homme de Lesvos et fille pigments naturels sur carton69 x 66.5cm (27 3/16 x 26 3/16in).natural pigments on cardFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.As noted by folk painting scholar G. Samourkas, 'Theofilos's Mytilene period, which lasted from around 1926 until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'1 Here, this seductive dual portrait of Mytilene folk is lovingly filtered through the artist's imagination and imbued with a spirit of untutored simplicity. The right part of the picture is dominated by the commanding presence of a moustachioed man in a traditional eastern Aegean costume, featuring a black vraka worn over an undergarment, a waistcoat, a sash wrapped around the waist, and a velvet toque headgear (compare Theofilos, Peasants of Mytilene, Theofilos Museum of Folklore Art, Vareia, Mytilene). On the left, a young girl in a European outfit, handled with confident brushwork and vibrant colour, is perfectly integrated into her environment, evoking a sense of home and domesticity. Both portraits express the artist's lifelong fascination with Greek nature, conveying a feeling of pure vision and vibrant life.Although the picture has a contemporary western touch, it is nonetheless handled in a fashion rooted in age-long Byzantine and folk art traditions, such as the egg-shaped faces, the well-delineated features and the frontal posture, which is a defining feature of Byzantine icon painting. 1 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.Comme l'a fait observer G. Samourkas, grand spécialiste de la peinture naïve, « la période où Theofilos a vécu à Mytilène, qui a duré de 1926 environ à son décès, a été celle de la maturité ; ses dessins sont devenus plus aboutis, ses couleurs plus chaudes, ses compositions plus structurées, ses arrière-plans plus embellis et ses combinaisons de couleurs plus élégantes.»Dans cette œuvre, le double portrait séduisant de gens de Mytilène est délicatement filtré par l'imagination de l'artiste et empreint d'un esprit de simplicité naturelle. La partie droite de l'œuvre est dominée par la présence imposante d'un homme moustachu portant un costume traditionnel de la côte orientale de la mer Égée, qui se compose d'une vraka noire portée par-dessus un sous-vêtement, d'un gilet, d'une ceinture nouée autour de la taille et d'une toque en velours (comparer avec le tableau Peasants of Mytilene de Theofilos, Musée Theofilos d'art folklorique, Vareia, Mytilène). Sur la partie gauche, une jeune fille en costume européen, peinte d'une main très sûre et dans une couleur vibrante, est parfaitement intégrée dans son environnement, et dégage une impression d'attachement au pays et au foyer. Les deux portraits expriment la fascination que l'artiste a éprouvée toute sa vie pour la nature grecque, et donnent un sentiment de vision pure et de vie vibrante.Bien que l'œuvre ait une touche occidentale contemporaine, elle est néanmoins traitée d'une manière qui plonge ses racines dans les très anciennes traditions de l'art byzantin et naïf, comme en attestent les visages ovoïdes, les traits bien dessinés et la posture frontale, qui caractérisent les icônes byzantines.For further information on this lot please visit Bonhams.com
Lot 43
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)École de danse signé et daté 'Ghika/ 65' (en base à droite)huile sur toile65 x 91.5cm (25 9/16 x 36in).Peint en 1965.signed and dated (lower right)oil on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens. ExposéAthens, Benaki Museum, N. Hadjikyriakos-Ghika, the Apollonian - the Dionysian, November 22, 2006 - January 15, 2007, no. 272 (illustrated in the exhibition catalogue, p. 164).LittératureDemetris Z. Pierides Collection of Contemporary Greek Painting and Engraving, Athens 1982, no. 63 (listed and illustrated).Tachydromos magazine, no. 1501, February 17, 1983, p. 48 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, his Painting Oeuvre, Benaki Museum, Athens 2011, p. 209 (discussed and illustrated).In one of the most insightful essays ever written on Ghika, poet Kimon Friar elaborated on the idea of the artist as composer, discussing his paintings in terms of music and rhythm: 'The works of Ghika are composed: that is, they contain the elements of both composition and composure. They are a designer's compositions in line, colour and space; they are the work of a musical composer; and their final resolution is a composure which the classical artist imposes on the recalcitrant materials of life to create a cosmos for which we all long and dream but which only the artist may invoke.'1 These perceptive remarks written in 1946 perfectly apply to École de danse, a pictorially complex exploration of youthful energy painted almost twenty years later. Indeed, rhythm, musical effect, composure, sense of space and proportion, Dionysian movement and Apollonian order all come together in a well thought out, tightly designed and dynamically balanced composition, where spirit is transformed into rhythm and vice versa. As noted by D. Iliopoulou-Rogan who curated the artist's 2006 major retrospective in the Benaki Museum, Athens, 'this spirit-rhythm duality is not disassociated from flesh and bodily pleasures, as his works call upon both the senses and the intellect.'2 This is indicated by the presence of marble sculpture alluding to lofty humanistic aims, and by the choice of subject for the easel painting in the centre which refers to more mundane interests. 'The whole point is to find the balance,' Ghika once told the art critic Dora Vallier. For him proportion was the fundamental condition for a work of art.3 Reflecting the artist's long involvement with the design of sets and costumes for Rallou Manou's legendary 'Hellenic Choreodrama' dance group4 and echoing many of Degas's complex multi-figure paintings of ballerinas set in rehearsal studios practicing their steps, Ghika's young dancers inhabit the large space haphazardly, creating casual patterns of movement and gesture that would never be seen on stage (compare E. Degas, Ballet dancers, c. 1890-1900, National Gallery, London).Moreover, demonstrating Ghika's extremely broad and varied range of artistic concerns, this exquisite canvas features a host of references to the history of art ranging from Hellenistic and Byzantine conventions to cubist experimentations and surrealism's poetic metaphors and subversively irrational visions. The sculptural figure on the right echoes André Masson's famous Gradiva, while the enigmatic dancer on the left, captured simultaneously as stone and flesh, alludes to mythical Galatea, the statue that came to life and became a surrealist muse (compare Salvador Dali, Galatea of the Spheres, 1952). This compelling duality reflects Ghika's two-sided nature: 'the one, the methodical man restrained by reason, the other, the man whom the senses restore to the centre of human life. We would be wrong to imagine that either one is struggling to dominate the other. Rather, they unite his strengths in a spirit of collaboration, not rivalry, to achieve a victory that belongs equally to both of them.'5 1 K. Friar, 'Ghika as Composer,' in Paintings by Hadjikyriakos-Ghika, exhibition catalogue, British Council, Athens 1946. 2 D. Iliopoulou-Rogan, N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian, exhibition catalogue, Benaki Museum, Athens 2006, p. 60.3 D. Vallier, 'Portrait of the artist', Art News and Review, no. 157, February 1955.4 See Iliopoulou-Rogan, Parallels, N. Hadjikyriakos-Ghika [in Greek], Polyplano editions, Athens 1980, p. 41.5 C. Zervos, article from Cahiers d'Art, December 1952.Dans l'un des essais les plus pénétrants jamais écrits sur Ghika, le poète Kimon Friar développe l'idée que l'artiste est un compositeur, et décrit ses peintures en termes de musique et de rythme : « Les œuvres de Ghika sont composées ; autrement dit, elles contiennent les éléments à la fois de la composition et de la maîtrise. Ce sont des compositions dans leur ligne, leurs couleurs et leur espace ; elles sont l'œuvre d'un compositeur de musique ; et leur réalisation finale témoigne de la maîtrise que l'artiste classique impose aux matériaux récalcitrants de la vie, afin de créer un cosmos dont nous rêvons tous depuis longtemps mais que seul l'artiste peut invoquer. Ces remarques très pertinentes, écrites en 1946, s'appliquent parfaitement à l'École de danse, qui est une exploration picturale complexe de l'énergie juvénile, peintes près de vingt ans plus tard. En effet, le rythme, l'effet musical, la composition, le sens de l'espace et de la proportion, le mouvement dionysiaque et l'ordre apollonien, tout concourt à une œuvre très bien pensée, dessinée d'un trait ferme et équilibrée sur le plan dynamique, où l'esprit est transformé en rythme et vice versa. Comme l'a noté D. Iliopoulou-Rogan, curateur de la grande rétrospective consacrée à l'artiste en 2006 au Musée Benaki à Athènes, cette dualité esprit-rythme n'est pas dissociée des plaisirs de la chair et du corps, étant donné que ses œuvres font appel à la fois aux sens et à l'intellect. Il suffit, pour s'en convaincre, de citer la présence de la sculpture de marbre qui évoque des aspirations humanistes élevées, ainsi que le choix du sujet sur le chevalet qui figure au centre, qui évoque des intérêts plus banals. Le tout est de trouver l'équilibre, comme Ghika l'a dit un jour à la critique d'art Dora Vallier. Pour lui, la proportion était la condition fondamentale de toute œuvre d'art. L'artiste a longtemps créé des décors et des costumes pour le groupe de danse légendaire de Rallou Manou 'Hellenic Choreodrama' ; cette expérience se retrouve dans l'École de danse, qui fait également écho à beaucoup d'œuvres de Degas, qui représentent des ballerines s'exerçant dans des studios de répétition. Les jeunes danseurs de Ghika habitent le vaste espace au hasard, créant des chorégraphies aléatoires et des gestes que l'on ne verrait jamais sur scène (comparer avec E. Degas, Danseuses de ballet, vers 1890-1900, National Gallery, Londres).En outre, cette toile exquise atteste de l'éventail extrêmement large et varié des préoccupations artistiques de Ghika, et fait de nombreuses références à l'histoire de l'art, depuis les conventions hellénistiques et byzantines jusqu'aux expérimentations cubistes, aux métaphores poétiques surréalistes et aux visions irrationnelles subversives. La figure sculpturale sur la droite fait écho à la célèbre Gradiva d'André Masson, tandis que le da... For further information on this lot please visit Bonhams.com
Lot 72
Nikos Engonopoulos (Greek, 1907-1985)Le retour de Bessarion signé en grec et daté '54' (en bas à droite)huile sur toile65 x 46.5cm (25 9/16 x 18 5/16in).Peint en 1954.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceN. Gonatas collection, Athens.Private collection, Athens.ExposéAthens, Zappeion Hall, X Panhellenic Art Exhibition, July 15 - October 20, 1969, no. 134 (listed in the exhibition catalogue under the title Euclid, according to Cat. Rais.). Athens, Portalakis Collection venue, The search of Modernity - the Transition to Greekness, January 22 - July 31, 2007 (mentioned, p. 11, and illustrated in the exhibition catalogue, p. 103).LittératureD. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, p. 269 (listed), pp. 236-239 (discussed), fig. 67.1 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 505, p. 287 (illustrated), p. 448 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 378-379 (discussed), p. 380, fig.138 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007 (listed and illustrated).'Unfortunately, I never owned an Engonopoulos. Gonatas, instead, has managed to buy one or two of his paintings.'Miltos Sachtouris1 Inspired by the nobility of bygone times and drawing from the vast storehouse of Greek history and tradition, Engonopoulos pays homage to Bessarion (1403-1472), a great Byzantine Greek scholar and humanist and later Catholic Bishop and titular Latin Patriarch of Constantinople. A student of the celebrated Neoplatonist Gemistus Plethon, Bessarion contributed to the dissemination of Greek letters in the 15th century and fought for the liberation of the Ottoman-occupied territories of the Hellenic world. His palazzo in Rome was a virtual Academy for the studies of new humanist learning, and a center for Greek exile scholars and diplomats. As noted by historian E. Glykatzi-Arhweleir, Bessarion was a major contributor to the Italian Renaissance. 'Thanks to the intellectually challenging environment he found in Venice, he brightened the Greek name. The spirit of Greece traveled to the West only to triumphantly return later, by way of Crete and the Ionian Islands, to the enslaved metropolis.'2 Engonopoulos portrays Bessarion as an elegant male nude reminiscent of Minoan frescoes or El Greco's saints.3 He is standing on a cobblestone pavement in front of a stately Renaissance-style palazzo, probably his Rome residence and the centre of his celebrated Academy. The mansion's wine-red façade is adorned with a niched statue and a pair of wall-mounted fragments of ancient sculpture, while a cluster of adjacent palm trees suggests the existence of a lush garden hidden behind the tall brick wall on the foreground. Engonopoulos's Bessarion wears a heraldic galero rosso, the scarlet broad-brimmed hat with tasselated strings reserved for Catholic cardinals.4 He is holding a stringed instrument (lute)5 in his right hand and a bow (or a sword) in his left to keep an approaching giant scarab at a safe distance. As noted by scholar D. Vlachodimos, 'the handling of the subject clearly speaks about Bessarion's contribution to the beginning and evolution of the Renaissance movement. Isn't the lute a symbol of poetry, music and art? Shouldn't the scarab, this ancient Egyptian symbol of eternal life and the human soul, be interpreted as a direct reference to Platonic philosophy, which Bessarion was largely responsible for disseminating to the West? What's more, aren't the palm trees in the mansion's garden, along with the symbolic overtones of the ancient sculpture on its walls, an indirect, yet clear, reference to the East? Ultimately, doesn't Bessarion represent the combination of eastern and western elements, which, in short, is the essence of the Renaissance?'6 1 As quoted in M. Sachtouris, 'A Wonderful Man', interview [in Greek], Lexi magazine, no. 179, p. 47.2 See E. Glykatzi-Arhweleir, Why Byzantium [in Greek], Greek Letters editions, Athens 2009, p. 75.3 See M. Lambraki-Plaka 'The Timeless Pantheon of Nikos Engonopoulos' [in Greek], Filologiki quarterly, no. 101, October-November-December 2007, p. 9.4 Similar hats worn by Greek patriarchs are depicted in 16th c. representations (see History of the Hellenic Nation, Ekdotiki Athinon editions, vol. X, pp. 98, 119).5 Compare N. Engonopoulos, Apparition de Rigas Pheraios en Eubée, sold by Bonhams, Greek Sale, May 18, 2010, lot. 38.6 D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 239.« Malheureusement, je n'ai jamais possédé une œuvre d'Engonopoulos. Gonatas, au contraire, a réussi à acheter une ou deux de ses toiles.» - Miltos Sachtouris Inspiré par la noblesse des temps anciens et puisant dans le vaste patrimoine historique et culturel grec, Engonopoulos rend hommage à Bessarion (1403-1472), grand érudit et humaniste gréco-byzantin, puis évêque catholique et patriarche latin de Constantinople. Élève du célèbre néo-platonicien Gemistus Plethon, Bessarion a contribué à la diffusion des lettres grecques pendant le 15ème siècle et lutté pour la libération des territoires du monde hellénique occupés par les Ottomans. Son palais à Rome était pratiquement une Académie d'études du nouvel humanisme, et un centre pour les étudiants et les diplomates grecs en exil. Comme l'a fait observer l'historien E. Glykatzi-Arhweleir, Bessarion a apporté une contribution majeure à la Renaissance italienne. « Grâce à l'environnement intellectuellement stimulant qu'il a trouvé à Venise, il a fait rayonner le nom de la Grèce. L'esprit de la Grèce n'a voyagé vers l'ouest que pour en revenir triomphalement plus tard, via la Crète et les îles ioniennes, et regagner la métropole en esclavage.» Engonopoulos portraiture Bessarion comme un homme élégant, qui rappelle les fresques minoennes ou les saints du Greco. Il se tient sur un sol pavé en face d'un majestueux palazzo de style Renaissance, probablement sa résidence de Rome et le centre de sa célèbre Académie. La façade lie-de-vin de la demeure est ornée d'une statue dans une niche et d'une paire de fragments de sculptures antiques adossés au mur, tandis qu'un ensemble de palmiers adjacents suggère l'existence d'un jardin luxuriant caché derrière le haut mur de briques au premier plan.Le Bessarion d'Engonopoulos porte un galero rosso héraldique, le chapeau écarlate à large bord et glands réservé aux cardinaux de l'église catholique. Il porte un instrument à cordes (luth) dans sa main droite et un arc (ou une épée) dans sa main gauche, afin de tenir un scarabée géant qui s'approche à bonne distance. Comme le note le Pr. D. Vlachodimos, « le traitement du sujet parle clairement de la contribution de Bessarion à la naissance et à l'évolution du mouvement de la Renaissance. Le luth n'est-il pas un symbole de la poésie, de la musique et de l'art ? Le scarabée, qui symbolisait la vie éternelle et l'âme humaine dans l'antiquité égyptienne, ne doit-il pas être interprété comme une référence directe à la philosophie de Platon, que Bessarion a largement diffusée en Occident ? Qui plus est, les palmi... For further information on this lot please visit Bonhams.com
Lot 9
Théodore Jacques Ralli (Greek, 1852-1909)Fille assise sur un mur de pierre, filant la laine signe 'Ralli' (en bas à gauche)huile sur toile55 x 46.5cm (21 5/8 x 18 5/16in).signed (lower left)oil on canvasFootnotes:ProvenancePrivate collection, Canada.Private collection, Athens. This delightful vignette of peaceful rural life evokes a noble sentiment of tenderness and relaxed meditation. Bathed in diffuse light and set against a shallow backdrop of ascetic simplicity, the graceful young sitter strongly contrasts with the dark interior, suggested rather than shown through the opening on the wall. Holding her spindle and distaff, and with downcast eyes, she is completely absorbed in spinning the fibres, conveying to the viewer the era's moral values of modesty and virtue. The dean of Greek orientalist painters, Ralli travelled extensively across Greece, faithfully recording the countenance and traditional costumes of peasant women in secular or religious settings. In his virtuoso technique, deft use of subtle gradations and loving attention to detail, he follows on the footsteps of his great teacher Jean-Léon Gérôme. Here, relying on balanced composition, harmony of colour values, firm modelling and a personal spirit of solemn grandeur and noble elegance, he fuses this rural scene into a seductive work of art.Cette délicieuse vignette de la vie rurale paisible évoque un noble sentiment de tendresse et de méditation tranquille. Baignant dans une lumière diffuse et placée contre un arrière-plan serré d'une simplicité ascétique, cette gracieuse jeune fille contraste fortement avec l'intérieur sombre, suggéré plutôt que montré par l'ouverture dans le mur. Tenant son fuseau et sa quenouille, les yeux baissés, elle semble totalement occupée à filer la laine, et complètement absorbée par sa tâche. L'ensemble suggère immédiatement les valeurs morales de l'époque, faites de modestie et de vertu.Doyen des peintres orientalistes grecs, Ralli a beaucoup voyagé dans toute la Grèce, enregistrant fidèlement les visages et les costumes traditionnels des paysannes, dans des scènes de la vie courante ou des décors religieux. Avec sa technique de virtuose, son utilisation habile de gradations subtiles et l'attention amoureuse qu'il porte au détail, il s'inscrit parfaitement dans la lignée de Jean-Léon Gérôme, dont il fut l'élève. Dans cette œuvre, caractérisée par une composition équilibrée, une belle harmonie de couleurs, une parfaite maîtrise du trait et une interprétation personnelle de la grandeur solennelle et de la noble élégance du sujet, il transforme cette scène rurale en une œuvre d'art séduisante.For further information on this lot please visit Bonhams.com
Lot 311
A BRONZE PLAQUETTE OF THE BAPTISM OF CHRIST, VALERIO BELLI (C.1468-1546), POSSIBLY 16TH CENTURY square, St John holding his hand over Christ flanked by four disciples, God the Father and the Holy Spirit above, moulded border 6cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cast from one of Belli"s rock crystal panels in the "Medici Chest" (Pitti Palace, Florence, Uffizi Inv. Gem 1921 no. 505) Bange 749; Kress 5; Belli 33
Lot 440
A BRONZE-GILT PLAQUETTE OF THE CORONATION OF THE VIRGIN, PROBABLY GERMAN OR FLEMISH, EARLY 17TH CENTURY rectangular, the Virgin kneeling on cherubim inhabited clouds flanked by God the Father and Christ holding up a crown surmounted by the dove of the Holy Spirit 12.5 x 10cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Weber 889
Lot 446
A BRONZE PLAQUETTE OF THE BAPTISM OF CHRIST, ATTRIBUTED TO ARENT VAN BOLTEN (1573-1633), 16TH / 17TH CENTURY rectangular, Christ standing in the Jordan flanked by angels and St John pouring the water over him while figures crowd to the side, above the dove of the Holy Spirit descends 18 x 13cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Weber 962
Lot 402
A BRONZE PLAQUETTE, ITALIAN, EARLY 17TH CENTURY oval, with half-length facing profiles of a Brigittine and a visiting monk with the dove of the Holy Spirit between them, on reverse a wreath bordered Latin inscription, translating as: "1619 Month May D. Blasius Bagnuascento of the Order of the Holy Saviour, D. Marian Bon Bonon, (visitor), have placed a foundation stone, and dedicated it to the Holy Spirit" 11 x 13.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography*
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