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Lot 444
PALE GREEN WALDGLAS-TYPE ROEMER,the stem with applied prunts, German or Dutch, in the manner of the 17th century originals but likely late 19th/early 20th century, 15.5cm high, together with a small twin-handled tapered vase also with applied prunts, possibly 18th century, 9.3cm high, and a candlestick with satin-type sconce on oversized foot in the manner of John Walsh Walsh (3)
Lot 460
WILHELM SCHILLER & SON MAJOLICA VASE,circa 1900, of baluster form with twin griffin handles, the body moulded with maskes, scrolls and foliate designs, stamped marks and numbers to base, 33.2cm highCondition fair. Good number of nibbles/chips to rim and foot. Areas of crazing too. Minor chip to moulding on one handle, and nibble to other. Additional images now available.
Lot 522
MICHAEL HARRIS (BRITISH, 1933-1994) FOR MDINA, GLASS ONION VASE,circa 1974, in swirled and mottled turquoise and yellow tones, engraved marks, signature and date to base, 26cm highThere is a strange black line to the lower body which seems to be internal, otherwise light general surface wear but no visible damage, additional images available including signature
Lot 534
RENÉ LALIQUE (FRENCH, 1860-1945), LIEVRES OPALESCENT GLASS VASE,the design introduced in 1923, moulded, stained and frosted with trailing ferns and central band of running hares, engraved R. Lalique, France signature, and No. 942 to base, 16cm highRim chipped in two places, images available, otherwise light general surface wear and dirt, extensive rubbing to the blue colouring
Lot 540
DAUM FRÈRES NANCY, ART NOUVEAU CAMEO GLASS GRAPE AND VINE VASE,circa 1900-14, cased and cut with trailing fruiting vines, and applied relief detail in enamels, signed Daum Nancy to lower body, 25cm highCondition generally good. Some light surface wear to base. Small manufacturing imperfections including pin pricks. Would benefit from an interior clean. Additional images now available.
Lot 541
HENRI BERGE (FRENCH 1868-1936) & AMALRIC WALTER (FRENCH 1870–1959), PATE-DE-VERRE THISTLE VASE,circa 1920, of conical tapered form, relief moulded with thistles, signed A. WALTER NANCY and BERGE Sc, inscribed Made in France to base, 10cm highSome tiny flea bites to rim, some pitting and pockmarks to body as a result of manufacture, otherwise some light general wear but no major issues to note, additional images available
Lot 542
HENRI BERGE (FRENCH 1868-1936) & AMALRIC WALTER (FRENCH 1870–1959), PATE-DE-VERRE ABIELLE VASE,circa 1920, relief moulded with bees amongst branches, graduated green to blue ground, signed A. WALTER NANCY and BERGE Sc towards base, 14cm highSome tiny flea bites to rim, body and foot but no visible chips, cracks or other notable issues; some inconsistencies in finish towards foot presumably from manufacture, light general wear; additional images available
Lot 543
GABRIEL ARGY-ROUSSEAU (FRENCH 1885-1953), PATE-DE-VERRE THREE-HANDLED VASE,circa 1923-29, foliate relief moulded in blue and teal against a speckled ground, signed G. ARGY-ROUSSEAU towards base, 10.2cm highThere is a surface hairline to the exterior which runs vertically and can be felt with a fingernail but does not run through the body, this may be from production, image provided; otherwise some tiny flea bites to rim, one small nick to foot, light general surface wear but no other chips or visible issues to note; the vase is also numbered 5955
Lot 545
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS VASE,of slender bottle form, cased and cut with trailing foliage on a graduated purple ground, signed Gallé towards base, 21.6cm highCondition good to fair. Sharpness towards the rim suggests this piece has been ground down, as well as a minor nibble to inside rim. The body and base with light age related wear. Additional images now available.
Lot 547
DAUM FRÈRES NANCY, RARE CAMEO AND ENAMELLED GLASS SWAN VASE,circa 1900, square section, the mottled glass overlaid and acid-etched with two swans swimming on a pond and further detail of trees, signed DAUM ☨ NANCY AL, 12.2cm highThere is a very small chip to one corner of rim but this has not affected the enamelled area, some very minor flea bites around the rim also; there is a very small area to the base of one of the enamelled leaf section where there might have been a small loss, image provided; there is a depression to the base which has been polished, either present from manufacture or an historic chip which has been treated, image provided; otherwise light general surface wear and light dirt but no other visible issues. This is an authentic, Art Nouveau period example. Additional images available
Lot 548
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS DRAGONFLY VASE,of bottle form, cased and cut with a dragonfly above lily pond, against a graduated pale blue ground, signed Gallé to body, 16.7cm highIn good condition, there are a few very small light surface scratches only evident upon very close inspection to body, very light general surface wear but no chips or other notable damage
Lot 549
ÉMILE GALLÉ (FRENCH 1846-1904), CAMEO GLASS PLUM VASE,of compressed conical form, cased and cut with plums on blossoming branches in blue, against a yellow ground, signed Gallé to body, 11.3cm highCondition generally good. Light age related wear and manufacturing flaws. Some surface wear and scratches visible to lower section of body, one section in particular. Additional images now available.
Lot 550
DAUM FRÈRES NANCY, ART NOUVEAU PATE-DE-VERRE MARGUERITE VASE,circa 1900, cameo cut and enamelled with flowers, buds and leaves, signed DAUM ☨ NANCY to body, 8cm highSome tiny nicks and nibbles to rim interior, light general surface wear commensurate with age and material but effectively good condition with no major issues to note
Lot 551
GABRIEL ARGY-ROUSSEAU (FRENCH 1885-1953), PATE-DE-VERRE VASE,circa 1923-29, of tapered form, the shoulders with masks amongst trails of ivy, against a mottled yellow ground, signed G. ARGY-ROUSSEAU to body, 9.9cm highCondition generally good. Light wear to base, also atrial residue (what appears to be remnants of blue tac perhaps). Would benefit from light clean to the interior.
Lot 557
FRENCH ART DECO OPALESCENT GLASS POISSONS VASE BY SABINO,the tapered body moulded with overlapping fish, square base, signed Sabino Paris, 13cm highCondition generally good. Area of adhesive residue to base, as well as a degree of surface wear. Some possible very minor nibbles to rim, though these appear as manufacturing flaws. Additional images now available.
Lot 576
JULES SARLANDIE FOR LIMOGES, ENAMELLED VASEdecorated with a maiden and spaniel in woodland, lake and mountain landscape, signed J Sarlandie Limoges, 20.3cm highSome very small nicks to the enamel where it meets the rim, a small likely repaired chipmtompartbofnthe signature, further wear around the foot, otherwise light general surface wear but no other major issues to note, additional images available
Lot 588
MURANO SOMMERSO GLASS VASE,of triangular form, with everted rim, in blue and purple tones, 35.5cm high, along with another glass vase, in white and pink, 20cm high (2)Taller vase with some inclusions and other manufacturing imperfections, some light surface scratches, both with further general light wear but no visible chips or cracks
Lot 135
Nowak, Sike (?). (Blumenstillleben). Ölgemälde (Mischtechnik) auf festem Papier. Signiert unten links "Sike (?) Nowak". Nicht datiert, Arbeit aus den 1990er - Jahren. Bildgröße 35,5 x 46,5 cm. Rahmengröße 56 x 68 cm (Hochformat). (17)* Bild der Tochter von Hans Nowak. Stimmungsvoller Sommerblumenstrauß in einer schlichten Vase. Darstellung in hellen und leuchtenden Farben. Zustand: Malerei mit kleineren altersbedingten Fehlstellen und Ausbrüchen. Der Holzrahmen ist etwas berieben und bestoßen, an den Ecken und Kanten stärker. Schöne Darstellung.
Lot 23
Theofilos Hadjimichael (Greek, 1871-1934)La bataille de Kalambaka inscrit en grec (en haut et en bas)pigments naturels sur zinc51 x 71.5cm (20 1/16 x 28 1/8in).inscribed in Greek (on the upper and lower part) natural pigments on zincFootnotes:*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'exposition à Athènes, du 8 au 11 novembre 2022. Cette Å“uvre 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, 8-11 November 2022. This work will be located in Athens during the auction.ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. Acquired from the above collection by the present owner. ExpositionsMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 17 (listed in the exhibition catalogue).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 2 (listed in the exhibition catalogue). LittératureT. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, July 1955, no. 5 (listed).Anti magazine, vol. 2, no. 20, May 31, 1975 (discussed, p. 48 and illustrated, p. 49). Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 298 (illustrated).E. Papazachariou, The Other Theofilos, Kaktos editions, Athens 1997, pp. 126-127 (discussed).Tony Spiteris Archive, Tellogleion Art Institute, Photographs of Works by Theofilos Hadjimichael, p. 7, no. GR TITSpit 101102_148.'When I saw the Takis Eleftheriadis1 collection of Theofilos paintings hanging in his ample home in Petra, Mytilene, I was left with the impression that every single one of them was first rate.'2 - Odysseus Elytis'Just look at these Meteora, painted on a sheet of zinc, with their warm pinks and light blues giving shape to the rocks, with the dark blues of the uniforms animating the Battle of Kalambaka—a highly sophisticated harmony in two colours with just a few touches of red at the tip of the rocks and the Turkish garb'.3 - Alexandros XydisCrowned by the otherworldly rocky outcrops and majestic byzantine monasteries of Meteora, and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and General Ioannis Makriyannis, the painting displays a battle scene between a Greek military unit formation on the left, led by a moustached officer on horseback, and a batch of Turkish troops on the right.Based on the artist's lengthy inscription that frames the composition, the picture shows the victorious Battle of Kalambaka in which the Greeks, led by chieftains Christodoulos Hadjipetros and Nikolaos Leotsakos, defeated a force of Turks and Arabs in 1854. The fact that the horse rider on the left, sporting a large moustache and raising his sword, may be identified with Colonel Constantinos Smolenskis, the legendary hero of the 1897 Greek-Turkish war, shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. His subject is treated more as a backdrop, allowing him to express his fascination with the idea of gallantry and heroic achievement without having to succumb to historical accuracy.History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by the wealth of costumes, shinning flintlock muskets, fiery red fezzes and dazzling white fustanella kilts, the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign and which eventually became his signature attribute. Possibly, the Greek pallikare at the centre of the composition4 is a self-portrait since he holds the flag with his left hand.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The wealth of detail is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of bravery and legend they are invited to contemplate. Moreover, the linear arrangement, the symmetry and rhythm of the composition and the impression of an immutable reality, take us further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics -where all parts are generally set side by side in a paratactical presentation. All phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present.6 As noted by critic and writer Ronald Crichton, 'Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history.'7 1 'A citizen of Mytilene, Mr. Eleftheriadis, father of the Parisian art critic and publisher Teriade, took a liking for Theofilos's work and company and introduced him to his son and to a small circle of writers and art lovers in the town. Theofilos was encouraged to come to Eleftheriadis's house in the olive groves on the slopes above the town, to paint and to talk.' R. Crichton, 'Theofilos' Orpheus, vol. 2, London 1949, p. 156.2 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 56.3.A. Xydis, 'Fine Arts Chronicle', Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48.4 The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting. See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.5 See E. Papazachariou, The Other Theofilos [in Greek], Athens 1997, p. 127.6 See H. Kambouridis - G. Levounis, Modern Greek Art - The 20th Century, Athens 1999, p. 43.7 Crichton, p. 151.For further information on this lot please visit Bonhams.com
Lot 4
Constantinos Parthenis (Greek, 1878-1967)Le Printemps huile sur toile87 x 80cm (34 1/4 x 31 1/2in).oil on canvasFootnotes:ProvenanceChristie's Athens, The Greek Sale, 9 December 1996, lot 105 (as The property of the Estate of a Gentleman).Acquired from the above sale by the present owner. ExpositionAthens, Athenian Technological Institute exhibition hall, Exhibition of Works by C. Parthenis, January 26 - February 9, 1966, no. 40 (probably).A Boticellian celebration of beauty carrying the hallmarks of Parthenis' signature style and conveying an enduring sense of spiritual uplift and poetic feel, the allegorical personification of Spring is set in an imaginary arcadia inhabited by abbreviated shapes and evocative symbols. Delicate lines, which echo the simplicity of ancient Greek vase painting, subtle play of curves, sensitive, translucent colours, and dematerialised shapes, all show how the painter exploited his formal repertoire to offer an idealised pictorial experience.The full-length personification of Spring, daintily strewing flowers from her lap, dominates the right-hand side of Parthenis's monumental Apotheosis of Athanasios Diakos, which was exhibited in the 1938 Venice Biennale and is now held by the National Gallery in Athens. Both the youthful figure of Spring and the canopied tree right behind her—a symbolic representational motif that also features prominently in the Greek Sale picture—allude to the untimely death of the legendary hero of the Greek War of Independence, echoing the verses attributed to him:'Oh, that Death chose to take me now,when the twigs are in full blossomand the soil is covered with fresh grass.'A half-length portrait of Athanasios Diakos by Parthenis, unsigned and with the same dimensions, pictorial organisation and overall feel as Bonhams' Spring, has been adorning the collection of the Bank of Greece since 1938.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 82
Alecos Fassianos (Greek, 1935-2022)Le Cavalier blanc signé et titré en grec (en haut à gauche)acrylique sur papier marouflé sur toile207 x 150cm (81 1/2 x 59 1/16in).Peint en 1983.signed and titled in Greek (upper left) acrylic on card laid on canvasFootnotes:ExpositionsThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 115 (listed, p. 198, and illustrated in the exhibition catalogue, p. 153).Athens, National Gallery - Alexandros Soutzos Museum, Fassianos, Mythologies of Everyday Life, retrospective exhibition, November 24, 2004 - February 28, 2005, no. 120 (illustrated in the exhibition catalogue, p. 150).LittératureA. Fassianos, card booklet, Macedonian Museum of Contemporary Art, Thessaloniki, 1993 (illustrated).Erourem magazine, no. 4., March 1996, p. 107 (illustrated).Captured in sharp profile and set against a solid background that accentuates his heroic scale, Fassianos's horseback rider is remoulded into an archetypal figure echoing the timeless symbolism of ancient Greek vase iconography. 'As in ancient pottery, his figures are captured in an eternal contre-jour which renders them both precise and timeless. These figures inhabit a land which might well be Greece, a totally luminous and airy land, an Aeolian land. 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.'1According to Koichi Tanikawa, one of Japan's most vibrant artists, Fassianos's appeal lies in the fact that his work makes one imagine a life with warm, southern sunshine and carefree, leisurely pleasure. And these are the effects also found in Picasso at Antibes, Bonnard at Le Cannet, and Dufy in Nice.'21 J. Lacarriere, A Shadow Play in Fassianos - Mythologies of Everyday Life, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2004, p. 24.2 K. Tanikawa, 'A Grecian Smile' in Fassianos Drawings, Adam editions, Athens 1994, 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 101
Bernard Moore Flambe Dragon Vase Bernard Moore red flambe dragon vase with three dragons in relief to the body and neck separated by cloud motifs between a gilded top rim and foot, 26cm highSome loss of gilding to the top rim, couple of firing faults and minor blistering. Also a couple of small areas of surface scratching to the widest part of the vase. No cracks, chips or restoration. Please view all images.
Lot 103
Pilkington's Royal Lancastrian lustre squat oviod form vase by William S. Mycock Pilkington's Royal Lancastrian lustre squat oviod form vase, decorated by William S. Mycock (1872-1950). Painted with Art Nouveau stylised foliage and other botanical forms on a red ground. Artist's monogram to the base for Mycock as well as incised initials 'ETR' for Edward Thomas Radford, with a % year mark, shape 2406 and impressed factory marks, 16cm highLoss of gilding to the inner top rim as well as scratching to the interior
Lot 104
Pilkington's Royal Lancastrian lustre onion-shaped vase decorated by Richard Joyce Pilkington's Royal Lancastrian lustre onion-shaped vase, decorated by Richard Joyce (1873-1931). Painted with four heraldic shields with various lion, rose and fleur de lis motifs surrounded by foliate patterns, between decorative geometric borders on a red ground. Artist's monogram to the base, shape 2890 and impressed factory marks, 17cm highCrazing overall and chip to the bottom rim
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