Alecos Fassianos (Greek, 1935-2022)Les poissons de la nuit signé en grec et daté '1986' (en bas à droite)acrylique sur papier contrecollé sur toile115 x 93cm (45 1/4 x 36 5/8in).signed in Greek and dated (lower right) acrylic on paper laid on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens.ExpositionsAthens, Pierides Museum, Fassianos, the Painter, the Engraver, 1991, no. 8, p. 12 (catalogued, p. 12, and illustrated im the exhibition catalogue, p. 23).Metsovo / Athens / Nicosia, Cyprus, Averoff Art Gallery / Pierides Art Gallery – Pierides Foundation / Municipal Art Centre of Nicosia, Ichthys, Spiritual and Artistic Symbol in Greek Tradition, October 28 1995 - January 31, 1996 / March 11 – May 26, 1996 / June 14 July 28, 1996 (illustrated in the exhibition catalogue, p. 151). Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 66 [detail], 67).Rhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 82 [detail], 83).LittératureY. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present Day, Athens 1992, p. 22 (mentioned), p. 181 (illustrated).Epiphania, Kinisis Business Administration Bulletin - Pierides Art Gallery, Athens 1992, p. 52 (illustrated).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996, no. 135, p. 251 (discussed), p. 165 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 2, Athens 2001, p. 96 (illustrated). Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Fassianos Works, p. 3 (illustrated).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
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Yiannis Tsarouchis (Greek, 1910-1989)La garde oubliée signé en grec et daté '1955' (en bas à gauche)huile sur toile40.5 x 56cm (15 15/16 x 22 1/16in).signed in Greek and dated (lower left) oil on canvasFootnotes:ProvenanceBrooks Jackson - Iolas Gallery, New York.Alexander Iolas collection. Acquired from the above by the present collection.LittératureArchitektoniki magazine, no. 56, March-April 1966, p. 106 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299 (mentioned).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. II, p. 211 (illustrated). Y. Tsarouchis, Os Strouthion Monazon epi Domatos, Kastaniotis editions, Athens 1987, p. 42 (mentioned).Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 65 (mentioned), p. 59, fig. 54 (illustrated).Ioannis Tsarouchis by Alexios Savakis, Kastaniotis editions, Athens 1993, p. 148 (mentioned).Formerly in the collection of legendary Alexander Iolas1, this fine jewel painted at the height of the artist's creative powers, is a groundbreaking work2 that encompasses the defining elements of the so-called Tsarouchian universe, including the sailor—his signature subject and one of the most celebrated images of 20th century Greek art—the male nude, the coffeehouse, the stage-like design, the flower still-life, the mirror, and the dense cloud formation.The composition's3 title was given after comments made by a frame carpenter who was reminded of a military unit that served in the Middle East during WWII. As noted by the artist, 'due to the heat the men were nude, and yet in full gear. I must admit that the nudity of the two sailors ... didn't derive from memories of the Middle East, which I didn't have, but, from the writings of [Christos] Tsountas in his History of [Ancient] Greek Art. He referred to the ideal nudity of ancient Greek sculpture in general and specifically to that of the 'regiment' of the two Tyrannicides—Harmodius and Aristogeiton—which are stark naked, even though no citizen was in the nude during the Panathenaic Games. The combination of naked and clothed bodies is a Greek invention of the archaic period, which continued throughout the Classical and Hellenistic times to be maintained in certain pictorial forms during the Byzantine era ... and then passing from the Renaissance and Baroque up until the nineteenth century and beyond. It is rare for a pictorial convention to last throughout so many centuries.'4 Set against a dark background interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, and shadow-puppet folklore—three sailors, one dressed and two naked, seem integrated into their surrounding space, imbuing this mise-en-scéne with a meditative feel and suggesting balance between clothing and nudity. Simplification, limited colour scheme, confident brushwork, and shallow compositional structure build up a solid edifice of pure forms invested with mystery and allure.The subtle dialogue of forms creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity. As noted by Nobel laureate O. Elytis 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'5 1 Alexander Iolas (1907-1987) was a Greek collector and art dealer. Born in Alexandria, Egypt, he studied piano and dance in Berlin in the 1920s, fled to Paris after Hitler's rise to power, and became friends with prominent members of the avant-garde, including Giorgio de Chirico, Max Ernst and Pablo Picasso. He joined New York's Hugo Gallery as a director in 1944 and in 1955 he collaborated with former dancer Brooks Jackson to co-found Jackson-Iolas Gallery in New York. Soon after, he opened galleries under his own name in several cities around the world. 2 One of his first oils to introduce three-dimensional figures set against a shallow dark backdrop.3 The composition was repeated in two monumental, less painterly oils, The forgotten guard (left and right section), 1956, 210x145cm each section, and The forgotten guard, 1957, 210x145cm, both in private collections. 4 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.5 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.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
* Attlee (Clement Richard, 1883-1967). 1st Earl Attlee, British politician and Prime Minister, 1945-1951. A group of 5 Autograph Letters Signed, ‘C. R. Attlee’, ‘Clement R. Attlee’ and ‘Clem’, various London addresses, 1919-1944, to his friend Leslie, mostly personal and work news, the first mentioning that ‘I have just got into my rooms here that form part of the premises of the local labour party and I hope you will come over and see them when they are a bit more shipshape – at present painters and electricians are still about the place… I have to do a certain amount of writing which takes up a lot of time besides lectures at the school…’ (28 October 1919); the second apparently congratulating Leslie on her engagement and talking about love, ‘Very many thanks for your kind letter and congratulations. I am glad to hear your news for I quite agree with you that being in love is the greatest thing in the world. I see you have the right symptoms – one feels so happy that one wants everybody to share one's happiness. I hope that the obstacles in your case will be removed. I am most awfully lucky in having the love of such a girl as my Vi[olet], you would, I am sure, I think that she is very charming if you met. We have got a little house at Woodford – are to be married in January, if all goes well. I hope to see you then when we are settled in’ (28 October 1921); the third talking about an election victory, ‘Our majority was very gratifying, though I never had much doubt about increasing our majority. The few casualties are regrettable, but on the whole the result is magnificent. Jack has returned minus his voice, but otherwise full of beans. I will introduce [Benjamin] Greene to Wise if he likes. We had a day off yesterday and went to see Oxford beat Cambridge - some day’ (12 December 1922); the fourth thanking her for her letter and the cheese, telling that their daughter Janet is stationed in Edinburgh being an officer in the WAAF and wondering whether she might look Leslie up sometime, (Privy Council Office letterhead, 1 January 1944); the last with news of his children before changing subject to the War and politics, ‘… So much has perished in the Blitz. As you know I was opposed to the Communist market system but that does not mean that I want to quarrel with Russia. We owe the Russians much for defeating the foulest system on earth, Nazism. There is hope of development in Russia when I hope the [??] side will give way to fine ideals when the pressure of war is renewed. There is no hope in Nazism which in my view is the negation of civilization. I do not understand why you and others who prefer the [???] are so blind to the actualities of Nazism’ (11 Downing Street letterhead, 19 December 1944), a total of 10 pages, second letter dust-soiled, various sizes, plus two of the envelopes, together with 2 further Autograph Letters Signed, ‘C. R. Attlee’, Prime Minister’s 10 Downing Street letterhead, 7 October 1946 & 6 October 1950, being brief notes with birthday congratulations to Leslie’s son Paul, both 1 page, 8vo, the first with a draft reply to verso, plus a copy of a children’s book, Timothy by Elizabeth Ramal, 1953, with ownership name of Paul Greene and a note in an unidentified hand identifying it as a gift from AttleeQTY: (8)NOTE:An unusual cross-section of letters depicting lesser-known parts of Attlee’s life and thoughts over a quarter of a century from his return to local politics following the First World War to the start of his premiership following the end of the War in 1945. Leslie Greene (née Campbell) was evidently a close friend and fellow Labour supporter from London who in 1925 married Benjamin Greene (1901-1978), a British Labour Party politician and pacifist, and a cousin of Graham Greene. Ben worked for Attlee in the Limehouse constituency during the 1923 general election but after his marriage to Leslie he became a businessman. During the Second World War he was interned because of his fascist associations and appealed to the Judicial Committee of the House of Lords against his detention. In the leading case of Liversidge v. Anderson the Law Lords declined to interfere with ministerial discretion on matters of national security and thus refused to review his detention. Ben and Leslie’s son Paul, born in 1937, became Attlee’s godson. Clearly, Attlee continued to carry out some godfather duties by sending birthday letters and book tokens even after Paul’s parents’ political ideas had moved to the far right and made Attlee’s relationship with them untenable, especially so after he became prime minister in 1945.
* Victorian Spiritualism. An Autograph Letter Signed from John Fox, 50 Fayette St., Baltimore, Maryland, 22 April 1873, written to his deceased son Master John Sydney Fox, 'The long desired opportunity of trying to communicate with you through a medium, having presented itself I write this letter in the hope that you will be able to demonstrate to me your identity, not alone by answering this letter, as that would not be convincing, although mysterious, but by speaking of some event in your earth life, not herein alluded to, for if my dear boy it is you that answer me you will remember many circumstances that occurred when with me, either before, or during your sickness that will prove positively that you still live and give me the happy assurance that we will meet again. If you have not the requisite knowledge or power to do this, solicit the friendly aid of some one that has to assist you, for I would rather have one convincing proof, or test, than one hundred such excuses, as were given me in answer to a letter directed to your aunt Rossbrough. She evidently did not write it, or she would have mentioned her children... ', continuing in similar vein, 3 pages in a good clear hand, horizontal fold split at foot with resultant separation but no loss of text, some old paper repairs and remains of seal to blank address panel, 4toQTY: (1)NOTE:An unusual item. John Fox would appear to have been one of the founders of Uniontown, an area now known as Anacostia in the city of Washington, DC.
Tobias (Toby) Harrison (b.1950) - still life of tulips in a glass contained within a niche signed Tobias and dated or numbered 13 within a capital D, oil or tempera on board, 17.75" x 11.75" - * The artist was the son of Claude Harrison and Audrey Harrison who were both artists living in Cumbria in the Lake District.
Enslin Hercules DuPlessis (1894-1978) South African, a still life study of flowers in a vase, oil on board, signed to lower left corner, 39.5 cm x 31 cm in a wooden frame.4cm long crack to the panel bottom centre, and some woodworm holes to the back right. Otherwise, appears to be in good condition. Looks to have been signed in pencil.
Leyly Matine-Daftary (Iran, 1937-2007)Les Coquilles (The Shells) oil on canvas, framedtitled 'Les Coquilles' on the verso, executed in the late 1980s90 x 72cm (35 7/16 x 28 3/8in).Footnotes:Provenance:Property from a private collection, London'The softness you see is because of the difference in the technique which I am lately using in my work. My method has changed slightly. I have painted plants before and also shells, but gradually I have paid more attention to detail. That's not how it was ten or twelve years ago. Then, it was just planes of colour positioned next to each other. It had neither lines nor details'- Leyly Matine-DaftaryBonhams is proud to present this magnificent painting by one of Iran's foremost female modernists Leyly-Matine Daftary. Leyly was born in Tehran in 1937. After having completed her primary education in Tehran, she attended Cheltenham Ladies College in Gloucestershire. She then went on to obtaining a Fine Art degree from the Slade School of Fine Arts in London before returning to Tehran in the late 1950s. Her artistic career began in the early 1960s, an era of great innovation in the arts in an international scale. Leyly was part of the first generation of Iranian women artists and part of the new wave of artists in Iran breaking against traditional art forms and techniques. The year of the revolution 1979 Leyly moved to Paris where she lived for the rest of her life.Here the artist beautifully captures a still life with shells using a novel perspective. The warm but soft colour palette and the delicate placement of the pieces in conjunction with the stark backdrop creates a visually stylized overall composition. Leyly is best known for her focus on extreme simplification of form, freshness of colour and the reduction of space into flat surfaces.For further information on this lot please visit Bonhams.com
Shafic Abboud (Lebanon, 1926-2004)Nuits A oil on canvas, framedsigned 'Abboud' (lower right), further signed 'Abboud', dated '88' and titled 'Nuits A', Galerie Faris label on the verso, executed in 1988119 x 133cm (46 7/8 x 52 3/8in).Footnotes:Provenance:Property from a distinguished private collection, Beirut Illustrated:C.Lemand, Shafic Abboud, Paris, 2006, illustrated on page 192Exhibited:Beirut, Loft 46. Piece for a Museum featuring Paul Guiragossian and Shafic Abboud, April 2010Paris, Galerie Faris, Rétrospective Shafic Abboud 1949-1989, 1990.'Like Renoir, Vuillard and Bonnard, Shafic Abboud is above all, an eye. He sees colour and immediately fragments it into light. His canvas is a bullfighter's outfit. It can be discombobulated and magnificently renewed according to its own logic, made up of flashes and vibrations, shivers and juddering. The result is there before us, as powerful as evidence: that window opened onto the ungraspable turmoil wherein forms refuse distinguishing characteristics in favour of the forces that inhabit them, elastic and fluid forces, nonetheless hard, like those underpinning the crucial universe.' - Salah Stetie'In the genesis of each painting, there is a visual trigger coming from an event which we have experienced. Why chose one or another moment of daily life? This is still a real mystery to me and there is no explanation for the reasons of my adherence. All in all, painting is like telling a story, yet my language is the paint and everything is enacted and decided on the canvas and within its making. The work is finished once the initial impact is restored and life is recovered, through trial and error. To sum up, the more I go forward, the less I know about painting' - Shafic AbboudIntricate, finely worked, and deeply personal, 'Nuit A' is a large and exemplary abstract masterpiece by Shafic Abboud. A vibrantly articulated composition, the the present work is a supreme rendition of the colorful abstraction which established Abboud as one of the most lauded Lebanese artists of the modern era.A meticulous and fastidious colourist, Abboud was renowned for his methodical approach to draftsmanship, exploring and examining prospective pigments and palettes before each composition. The movement from considered, systematic preparation to free-flowing, primal and spontaneous result could not be more emphatically captured than in the present work, where a vibrant swarm of impulsive strokes chase and intersect across the canvas in an array of earthen and leafy tones.Shafic Abboud studied at the Lebanese Academy of Fine Arts (ALBA) under César Gemayel (1898–1958) before he went to Paris in 1947. There he studied at the École nationale supérieure des Beaux-Arts and frequented the studios of Jean Metzinger (1883–1956), Fernand Léger (1881–1955), and André Lhote (1885–1962).He returned to Lebanon in 1949 and held his first solo show of figurative paintings in Beirut in 1950. The following year he resettled in Paris. During the first half of the 1950s Abboud developed an admiration for the art of Pierre Bonnard (1867–1947), Roger Bissière (1886–1964), and Nicolas de Staël (1914–1955). With the support of the art critic Roger van Gindertael (1899–1982), Abboud had his first Parisian exhibition of abstract works in 1955.He was invited to the Salon des Réalités Nouvelles in Paris and was the only Arab artist included in the first Paris Biennale in 1959. As a painter Abboud is renowned for the subtle incorporation of his Lebanese roots, namely his childhood memories and the landscape of Mount Lebanon, into his masterfully balanced compositions, as well as for his balanced use of colour. He travelled often and consistently returned to his homeland, where he played a major role in Beirut's cultural and artistic life.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
Abdel Ghaffar Shedid (Egypt, born 1938)Tahtib oil on board, framedsigned 'Abdel Ghaffar Shedid' and dated '65' in Arabic (lower right), executed in 1965134 x 115cm (52 3/4 x 45 1/4in).Footnotes:Provenance:Property from a private collection, CairoAbd El-Ghaffar Shedid was born in 1938 in Cairo where he still lives and works. He has a PhD in Ancient Egyptian Art History from Helwan University, Cairo. He is a Lecturer at the Department of Painting at the Faculty of Fine Arts, Helwan University, founder and head of the Art History Department, and recently has become a Lecturer in Art History and Painting at the American University in Cairo.His paintings are mainly concerned with figurative interpretations of daily Egyptian life.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Mary Fedden R.A. (British, 1915-2012)Three Paint Brushes signed and dated 'Fedden '06' (lower right); further signed and titled 'Mary Fedden/Three Paint Brushes.' (on Artist's label attached to backboard)watercolour, gouache and collage (to include fragments of Julian Trevelyan R.A. (British, 1910-1988), Gharb, 1977; Henley Regatta, 1978)22 x 27cm (8 11/16 x 10 5/8in).Footnotes:ProvenanceSale; Christie's, South Kensington, 23 March 2017, lot 43, where acquired by the present owner Private Collection, U.K.'Immediately after the war, I was painting rather heavy still lifes and flower paintings, and although I was to be influenced by Matisse and Braque, it was Julian Trevelyan who really changed the direction of my painting' (Mary Fedden, quoted in The Artist, March 1955, p. 11).Mary Fedden lived and worked at her home in Durham Wharf from 1951 until 2012, which she shared with her husband Julian Trevelyan until his death in 1988. Their close working environment created an atmosphere of collaboration which is encapsulated in the present lot. Made in 2006, Fedden uses fragments of two of Trevelyan's etchings, Henley Regatta (1978) and Gharb (1977), to construct an image of three paint brushes, sitting in a slightly surreal landscape that is part English river scene, and part Maltese townscape. Three Paint Brushes is a fusion of Fedden's typical still life works, with the collage influence of Matisse and Braque. Her use of Trevelyan's own work appears to be an ode to both his influence on the direction of her practice, and the impact of 20th century French collage on her oeuvre.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
Patrick George (British, 1923-2016)Still Life stamped with studio stamp (on board verso)oil on board17.5 x 13cm (6 7/8 x 5 1/8in).Footnotes:ProvenanceWith Grant Waters Fine Art, Angmering, where acquired by the present owner Private Collection, U.K.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
Eliot Hodgkin (British, 1905-1987)Portrait of Joyce Graham signed 'E. Hodgkin' (upper right), dated '1935.' (lower left); further signed and dated 'E. Hodgkin 34' (on board verso)oil on panel50.5 x 40.5cm (19 7/8 x 15 15/16in).with a further oil of a still life, on the reverse, by the same handFootnotes:ProvenanceSale; Christie's, London, 27 February 2008, lot 26 With Wall Gallery, London, where acquired by the present owner, 19th July 2008Private Collection, U.K.Please note that this lot is offered together with a copy of the receipt from Wall Gallery, a collection of postcards from the Artist and catalogues relating to Eliot Hodgkin, amassed by the family of Joyce Graham, Eliot Hodgkin's cousin.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, Montpelier Street, Knightsbridge, London, SW7 1HH, or email britart@bonhams.com.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
A SAPPHIRE AND DIAMOND CLUSTER RINGThe four claw set oval cut sapphire estimated to weigh 2.57 carats, within a surround of brilliant cut diamonds, approximately 0.48 carats total, to a white swagged gallery and polished shank, unmarkedSize/dimensions: finger size R 1/2Gross weight: 4.7 gramsCondition Report: The sapphire has a couple of small nicks and scratches to the table, some nibbles to facet edges. There are a few small internal inclusions, including as healed fracture, but they are mostly under the crown facets. The diamonds are bright and lively, colour mostly H-I, clarity mostly SI, but some variation. The setting has some wear, there is some thinning to the back of the shank, it has also been sized, but still very much useable and has life left. Some thinning to the claws, some are very thin holding the diamonds, but stones are currently still secure. The sapphire claws may have been subtly replaced/retipped.Condition Report Disclaimer
Katherine William-Powlett (1911-1996) - Chrysanthemums - still life watercolour, signed with artist's initials to lower right, Chelsea Arts Society label verso, 43cm x 34.5cm, in glazed frame; Paul Marny (1829-1914) attributed - A Flemish Town - watercolour, unsigned, label verso, 45cm x 32cm, mounted in glazed frame; Continental School, 19th century study of a man seated on a chair by a barrel and violin, unsigned, 38cm x 28cm, mounted in glazed frame (3) Location: A2F
A mixed quantity of framed pictures to include Stephen Oliver - a pair of river landscape oils on canvas paintings, signed 62cm x 71cm; V W Thompson - still life of daffodils and leaves in a jug with a duck ornament in front, oil on canvas, monogram lower right, 23cm x 28cm, and unsigned drawing of buildings in Venice ?, in crayon, pencil and watercolour wash (8) Location
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