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Lot 230
A CONTINENTAL DECORATIVE CONCH SHELL WITH TWO CHERUBIC FIGURES TOGETHER WITH A TWIN HANDED VASE WITH BIRD DECORATION (2)Condition Report:Shell - Slight chip around edge H- 17.5 cm W- 20 cm D- 13 cmTwin handled bowl - H - 12 cm W -17 cm D -15.5 cmSome flower petals have chips missing, heavy gilding rub to handles and rim.
Lot 12
Périclès Pantazis (Greek, 1849-1884)Vase with flowers and apples signed 'Pantazis' (lower left)oil on canvas 40.5 x 56 cm.Footnotes:ProvenancePalais des Beaux-Arts, 25 October 1977, no. 395. Private collection, Brussels. Private collection, Athens. LiteratureG. Drakopoulou, Pericles Pantazis in the Context of 19th Century Belgian Painting (dissertation thesis), Athens 1982, p. 145 (listed), p. 115 (illustrated).Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present, Pierides Foundation, Thessaloniki 1992, p. 72 (mentioned).O. Mentzafou-Polyzou et al., Pericles Pantazis 1849-1884, Evangelos Averoff-Tositsas Foundation, Athens 1994, no. 184, p. 212 (catalogued), p. 52 (illustrated).For further information on this lot please visit Bonhams.com
Lot 16
Theofilos Hadjimichael (Greek, 1871-1934)The hero George Karaiskakis in battle with Kioutachi titled and inscribed in Greek (upper left and lower left) natural pigments on cardboard70.5 x 100.5 cm.Footnotes:ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. (Zygos magazine, 1975) Private collection, Athens.ExhibitedPetra, Mytilene, T. Eleftheriadis House, T. Eleftheriadis Collection of Paintings by Theofilos, 1961.Mytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 16 (illustrated in the exhibition catalogue, p. 6).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 9 (listed in the exhibition catalogue). LiteratureG. Samatouras, Twelve Folk Painters, Athens 1974, p. 88, fig. VII (illustrated).Zygos magazine, no. 13, March-April 1975, p. 79 (illustrated).Anti magazine, vol. 2, no. 20, May 31, 1975 (mentioned). T. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, c. 1960s (T. Spiteris Archive, Tellogleion Art Institute), no 8 (listed and illustrated). M.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, vol. 1, p. 13 (mentioned).An exceptional work by the 'wandering magician of Greek history'1, this engaging canvas of pulsating energy, brilliant colour and keen sense of heroic stature, shows the artist's lifelong fascination with the 1821 Greek War of Independence, paying homage to a giant of the uprising and a legend in his own time.Portrayed on horseback and followed by prominent chieftains (their names fully mentioned in the lower left hand corner inscription),2 Georgios Karaiskakis, commander-in-chief of Greek forces in eastern Greece, hounds the Turk Reshid Mehmed Pasha (known to the Greeks as Kiutahi) who had laid siege to the Acropolis of Athens in 1826. The Sacred Rock, epitomised by the Parthenon ruins shown on the upper right, was of little strategic importance but it had a strong emotional and symbolic value for the Greeks and the philhellenic movement in Europe. 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.3 Emerging from the smoke and dust of battle, his gaze fixed on the turbaned Turk, the battle-ready leader holds his pistol in his right hand, while his black steed is about to rush the enemy. The vehemence with which both Karaiskakis and his horse prepare to attack is expressed by the dynamic design and the vividness of colour.4 The Greek hero is portrayed full length and well in view, presented in such a manner as to show his figure to the best advantage. Much like a Byzantine icon painter, Theofilos is aiming at an interpretation of the historic event adjusted to a preconceived scale of values.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 linear arrangement of the warriors, the symmetry and rhythm of the composition and the impression of an immutable reality, take one even further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics, where all parts—sentences, ideas, episodes or figures—are placed one after the other like beads on a string.6 The Greek heroes are identified as such not only by the blue and white banner on the right or their characteristic fustanella kilts—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—but by purely pictorial means as well: they are more carefully modelled and shown considerably bigger than their opponents, reflecting Theofilos's insistence in taking full advantage of art's liberating freedom that recognizes no limitations when it comes to scale or perspective.7 The wealth of detail, as in the background group of young pallikares fighting over the ruins of the ancient theatre of Herodes Atticus and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and Ioannis Makriyannis, is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of gallantry and legend they are invited to contemplate. 1 See T. Eleftheriadis, 'Theofilos, Chieftain and Guardian of Greek Painting' in The Painter Theofilos in Mytilene [in Greek], exhibition catalogue, Mytilini 1962.2 This inscription, as well as the title on the upper left, reflect the painter's desire to provide a full description of his subject by leaving nothing obscure. On the contrary, everything is explained and clearly expressed and, therefore, all phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present. The inclusion of written text, in addition to expressing a longing for knowledge following the Ottoman occupation, denotes a unification of iconographic and linguistic symbols in a uniform and living Greek myth. See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Ministry of the Aegean, Athens 1999, p. 43.3 See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.4 See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75.5 See A. Grabar, Byzantine Painting, Skira, Geneva 1979, pp. 36-37.6 See H. Kambouridis - G. Levounis, p. 43.7 See L. Papastathis, 'Theofilos in Mt. Pelion' [in Greek], Lexi magazine, no. 172, November-December 2002, p. 945.*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, 26-29 March 2020. This work will be located in Athens during the auction.For further information on this lot please visit Bonhams.com
Lot 30
Yiannis Tsarouchis (Greek, 1910-1989)Clay vase with flowers signed in Greek and dated '66' (lower right)oil on canvas85 x 70 cm.Footnotes:Whether I paint men or flowers,I must reveal the divine spirit that lies within them.Yannis Tsarouchis Clay vase with flowers is a splendid and truly irresistible still life of highly silhouetted leaves, stems and petals painted in a serene and joyous spirit with a remarkable radiance of iridescent and sensitive colours. This display of enthrallment with colour is akin to the pictorial world of folk art and reminiscent of the powerful immediacy and disarming sincerity of Theofilos's paintings. The whole picture is enchantingly beautiful, speaking to us in a lyrical idiom of quietude, contentment and the joie de vivre.As noted by art critic A. Schina, 'Tsarouchis was not really interested in the descriptive rendering of luxuriant floral arrangements. His flowers are not meant to be flamboyant and decorative. On the contrary, they reflect everyday reality, alluding, with their different colours, fragrances, textures and sense of freshness, to warm human bodies and friendly gazes, while conveying something from the period's zeitgeist.'1 Discussing a similar work in the A.G. Leventis collection,2 art historian E. Arapoglou noted that 'Tsarouchis's compositions are characterized by an element of openness primarily achieved through his flat backgrounds painted in neutral colours. The latter effectively highlight the details of the main theme, in this case the shining part of the clay pot or the fine contours of the irises. Once again, there is an underlying feel of Greek popular iconography in the characteristically stylised arrangement of the leaves and flowers and in the use of the azure and terracotta tones.'31 A. Schina, 'Flowers and Foliage in the Paintings of Yannis Tsarouchis.'2 Compare also Departure with oval mirror, 1970, Yannis Tsarouchis Foundation, Athens.3 The A.G. Leventis Collection, The A.G. Leventis Foundation, Athens 1989, p. 168.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 11
Edvin Ohrstrom for Orrefors - a vase, engraved with a dancing female figure in ball dress feeding a long tailed bird amid scattered blooms, of colourless glass and oval section cut with facets, engraved mark, design number F 2756 and engravers mark AR for Arthur Roos, Sweden, Mid Century, 14.8cm high x 15.2cm max diam
Lot 12
Two Chinese blue and white vases, comprising: one bottle vase, 18th century, the pear-shaped body painted with peony in a garden, 21cm high, and another, Republic period (1912-1949), of tapering form, painted with Fu, Lu and Shou with a boy in a garden, 18.5cm high (2) 清十八世纪 青花牡丹纹瓶 及 民国 青花福禄寿纹瓶 一组两件
Lot 120
A collection of six Japanese cloisonné vases, 19th-20th century, comprising: a pair, of tapering form, enamelled with birds amongst bamboo and a flowering tree against a midnight blue ground, 12cm high, another pair, of ovoid form, enamelled with chrysanthemum against a diapered ground, 12.5cm high, a vase, of ovoid form, enamelled with chrysanthemum and other flowers by a river, against a midnight blue ground, 15cm high, and another, of baluster form, enamelled with lilies against a midnight blue ground, 15.5cm high (6)
Lot 122
A collection of five Japanese cloisonné vases, 19th-20th century, of tapering form, comprising: a pair, enamelled with swallows in a blossoming tree, 19cm high, another pair, with a bird amongst chrysanthemum, 18.5cm high, and one vase, with a bird amongst bamboo and a blossoming tree, 18cm high. all against a midnight blue ground (5)
Lot 13
A Chinese blue and white yuhuchun vase, 18th century, the well-potted pear-shaped body rising to a waisted neck and trumpet mouth, painted with bamboo, flowers and rocks by a fence in a garden, between a ruyi head and false gadroon borders, the neck with scrolls below bamboo and lingzhi , 38cm high Provenance: Sotheby's, New York, 23 March 2010, lot 219. 清十八世纪 青花竹石芭蕉图玉壶春瓶
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