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Click here to subscribeA large and impressive Warwick style bronze vase/jardiniere, of oval form with removable brass liner, the gadrooned rim over a high-relief patinated bronze frieze depicting Classical figures, the twin handles formed as pipe-playing children, on a stepped oval base, 39 cm high x 43 cm wide.Condition report: Good overal condition with no apparent damage or repair. Some signs of use, with surface marks commensurate with age.
A pair of Canton enamel vases, Qing, 19th century, the flared rim above gilt shi-shi handles and chilong, painted with panels of figures, 45.2cm highCondition report: One vase has a chip to the underside of the rim from which issues a 3cm hairline crack and an edge chip repair. This vase also has a couple of enamel losses within the decoration, some colours appear washed out. The other vase has fine hairline cracks to the rim and body. Both bases have been over sprayed, possibly disguising where they may have been drilled to accommodate a light fitting. Regardless of the faults, both vases are very much structurally sound and together. Faults are available to view in the online images.
Yiannis Tsarouchis (Greek, 1910-1989)Vase avec roses rouges et roses signé en grec et daté '77' (en bas à gauche)huile sur toile87.5 x 64.5cm (34 7/16 x 25 3/8in).Peint en 1977.signed and dated (lower left)oil on canvasFootnotes:ProvenancePrivate collection, Paris.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)L' Apothéose de Athanassios Diakos signé 'C. Parthenis' (en bas à gauche) huile sur toile117.5 x 117cm (46 1/4 x 46 1/16in).Peint vers 1927 signed and dated (lower left) oil on canvasFootnotes:ProvenanceSpyros Loverdos collection, Athens.Thence by descent to the present owner. ExposéVienna, Vienna Academy of Fine Arts, Foundation for Hellenic Culture, Konstantinos Parthenis, Vienna-Paris-Athens, retrospective exhibition, April 28 - May 14, 1995, no. 20 (discussed, pp. 28-29, 90, and illustrated in the exhibition catalogue, p. 91). LittératureI. Chadjiioannou, Panhellenic Album of National Centennial 1821-1921, The Golden Bible of Hellenism, vol. IV, Fine Arts, Nea Elliniki Ios editions, Athens 1927, p. 160 (shown in a photograph with the artist in his home studio).C. Parthenis, 1964 Calendar, Heracles-Olympos General Cement Company, Athens 1963, p. 31 (illustrated).Ellinika Themata magazine, no.2, 1966, p. 105 (illustrated).Eikones magazine, no. 537, February 4, 1966, p. 44 (mentioned).Tachydromos magazine, no. 730, April 5, 1968, pp. 58-59 (illustrated).The Greek Painters, 20th Century, vol. 2, Melissa editions, Athens 1975, no. 33, p. 26 (discussed), p. 48 (illustrated).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. III, Melissa editions, Athens 1976, pp. 370-371 (discussed), fig. 634, p. 369 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers, vol. IV, Melissa editions, Athens 1976, p. 335 (illustrated).Eleftheri Yenia magazine, no. 11, March 1977 (cover illustration).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. II, p. 57 (illustrated). C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, pp. 111 (mentioned), 161 (listed), 113 (discussed).Modern Greek Culture 1832-1982, Malliaris-Paideia editions, Athens 1983, vol. 1, p. 169 (mentioned). E. Georgiadou-Kountoura, Religious Subjects in Modern Greek Painting 1900-1940, doctoral dissertation, Thessaloniki 1984, p. 108 (mentioned).A. Kotidis, On Parthenis, University Studio Press, Thessaloniki 1984, p. 35, n. 41 (mentioned).L'Art Contemporain et le Monde Grec, Actes du XVIIIe Congrès de l'Association Internationale des Critiques d'Art (AICA), Greece 1984, p. 150 (mentioned).Synchrona Themata magazine, no.35-36-37, December 1988, p. 59 (illustrated).M. Tsikouta, Les Influences dans la Peinture Grecque après 1945, doctoral dissertation, Universite de Paris-Sorbonne, Paris, 1991, illustrations vol. I, fig. 6 (illustrated). A. Kotidis, Modernism and 'Tradition' in Greek Art of the Interwar Period, University Studio Press, Thessaloniki 1993, pp. 228-231 (discussed), p. 231, fig. 162 (illustrated).E. Papaspyrou-Karadimitriou, Thanassis Diakos in Art, Historical and Ethnological Society of Greece edition, Athens 1996, p. 84 (discussed), p. 85, fig. 51 (illustrated).E. Matthiopoulos, Greek Participation in the Venice Biennales 1934-1940, doctoral dissertation, vol. III, Rethymno 1996, pp. 820, 822 (mentioned).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996 (cover illustration).A. Saragiotis, Greek Symbolism, (doctoral dissertation), Thessaloniki 1999, p. 109 (discussed), fig, 250, p. 402 (illustrated).C. Christou, Greek Painting in the Twentieth Century, vol. I, 1882-1992, Society for the Dissemination of Useful Books editions, Athens 2000, p. 15 (illustrated). Dictionary of Greek Artists, Melissa editions, vol. III, Athens 1999, p. 476 (mentioned).A. Xydis, Constantinos Parthenis, Ta Nea editions, Athens 2006, pp. 113, 116 (discussed), pp. 86, 122, 123 (illustrated).E. Matthiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 173, pp. 66, 74, 76 (mentioned), p. 422 (catalogued), pp. 259, 260 (illustrated).A. Voyatzoglou, Ancient Greek Art Themes in Modern Greek Painting of the 1930s, Aristotelian University of Thessaloniki, Thessaloniki 2012, p. 104 (illustrated).Realnews newspaper, July 27, 2014, p. 40 (illustrated).https://el.wikipedia.org/wiki/Parthenis-konstantinos-apotheosis-athanasiou-diakou.jpegOne of the greatest pictures ever painted by a Greek artist, Parthenis's famous L' Apothéose de Athanassios Diakos is a triumphant expression of the master's poetic vision and a glorious recapitulation of his lofty symbolist ideals. Ideologically akin to the poetry of Costis Palamas and Angelos Sikelianos, it is a great work of national exaltation, expressing the resurgence of Hellenism and the efforts to extend Greece and restructure it into a modern state. Loaded with age-old memories and entranced by the dynamism and boldness of the twentieth century, L' Apothéose is a highly accomplished work of audacious modernity that elaborates on avant-garde visions and breakthroughs, carrying the hallmarks of Parthenis's signature style and conveying an enduring sense of spiritual uplift and poetic feel. Captured in fine lines and curvilinear shapes echoing the simplicity of ancient Greek vase painting, this stunning canvas pays homage to Athanasios Diakos (1788-1821), one of the leaders of the 1821 uprising and War of Independence. The hero, who had been obtained deacon, and hence was called Diakos, was a member of the Philiki Hetaireia and had served as a klepht under Odysseus Androutsos. On the outbreak of the Revolution he collected a troop to fight the Turkish forces and opposed Omer Vrionis's army at the bridge of Alamana, not far from the pass of Thermopylae where in 480 BC Kind Leonidas and his handful of Spartans died a heroic death resisting the Persian invadors. On May 5, 1821, Diakos with only seven hundred men fearlessly defended the bridge against a far superior Turkish force, and following a most gallant fighting he was captured and horribly executed.1 Occupying the right hand side of the painting, the Greek hero is depicted in the ascetic cassock of a monk hovering above ground in a diagonal position2 and ascending to heaven through a cluster of highly stylised clouds. His head is rendered in clear-cut profile, with the face turned distinctly to the sky, while his hands are stretched in prayer—a direct reference to the Ascension of Christ, reflecting the artist's strong bonds with religious iconography.3On the left, standing suspended in mid-air, a nude male figure with large outstretched wings and ancient helmet, should be identified with the Spartan king Leonidas, who is symbolically akin to Diakos, since both men chose to die under similar circumstances and in the same location, forever etching their names in the pantheon of Hellenism.4 The hero of the liberation struggle seems to welcome Leonidas, who lowers his head in respect, in a typically idealistic linking of the present and the past, of modern and ancient history,5 demonstrating Parthenis's view of the unbroken continuity of Greek civilization.Drawing from the poetic and inspiring atmosphere of the symbolist era, the winged figure represents a recurrent theme in Parthenis's work throughout his career. Interestingly, when the artist produced works intended for worship, the angel wings were given a small, conventional shape. However, in his secular paintings they were stylised in a geometric Art Deco fashion and equalled or exceeded the figure's height.6 (Compare Prayer in the Mount of Olives, c. 1930, Bonhams, Greek Sale, April 4, 2014, lot 24; Annunciation, Bonhams Greek Sale, November 21, 2018, lot 16.)On the lower part of the composition, a female figure in diaphanous veils reclining on a schematised rocky ledge, her body turned towards the viewer, her right arm raised and her head framed in a semi-circular halo-like fashion, is the allegorical personification of Hellas, a favourite Parthenis ... For further information on this lot please visit Bonhams.com
A PAIR OF NEO-CLASSICAL GILT-BRONZE FIGURAL CANDELABRA, SWEDISH, CIRCA 1800 each stem modelled as an adolescent Cupid holding his arrow in one hand, the other hand to his brow below a flared sconce supporting a pair of curved tubular arms and central stem ending in drip pans and vase shaped sconces hung with cut-glass lustres, the bases of cylindrical hollow alabaster with simulated porphyry borders and milled gilt-bronze mounts 61cm high
A FRENCH ART DECO SILVER AND ALABASTER TABLE CENTREPIECE, MAURICE DAURAT, PARIS, CIRCA 1930 in three parts, the central alabaster vase of pedestal urn form, rectangular with canted corners, the stylised scroll handles fitted with electric downlights to the interior, with a further light to the base, affixed to a silver stepped socle, the flanking elongated rectangular silver dish holders with vertical ribs, each with an electroplate liner, 950 standard and maker"s marks 99cm long, 37cm high Provenance: Private European Collector, "The Seawolf Collection", Object No.151 and pp.173-175 op. cit. (see lot 532 for further details.) Maurice Daurat (1880-1960) is perhaps best known for his work in pewter. The existence of a drawing of this centrepiece design (Private Collection, illustrated in the Seawolf catalogue p.175), titled "Appareil d"Eclairage / Métal Argenté & Porcelaine Teintée" suggests the original intention was for a centrepiece of porcelain and electroplate. The electrically lit ensemble must have been designed between 1927-1931, the years Daurat lived at the address hand inscribed on the design ("32 Av. de Friedland"), although it is not known when the decision was taken to use the more luxurious materials of silver and alabaster.
A JOSEPH HOLDCROFT MAJOLICA STICK STAND, CIRCA 1880 modelled as a heron with a fish in its beak standing on one leg beside a clump of bulrushes forming the stick or umbrella container, almost circular naturalistic mound base 83cm high, some losses Holdcroft"s, from their Sunderland Pottery works at Longton, produced two patterns of bird stick stands in majolica at this period, the heron seen here and a stork with an eel in its beak. These models were also produced as spill vases. Although the stork stand may be found on occasion, the heron version as a stand (rather than as a spill vase) is very rare.
Flight Barr & Barr vase by Thomas Baxter, finely painted with portrait medallions of Belisarius and Lady MacBeth verso, both medallions framed with multi-coloured jewelling, typical of the Baxter workshop, the blue ground also with neo-classical style gilding, flanked by two intertwined gilt handles and white jewelling to rim and above base, the cover with similar jewelling on blue ground and gilt knop, base with Flight Barr & Barr factory mark with titles 'Belisarius' and 'Lady MacBeth', 25cm high. Note: a similar piece by Thomas Baxter with multi-coloured jewelling sold at Bonhams in September 2021 Lot 22
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