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French school, 19th century. Lively scenes in a park. Pair of oils on panels. Signed lower left JF SAUVAGE. 20 x 15 cm (view)

Estim. 300 - 400 EUR

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Jules DUPRÉ (1811-1889). Lakeside. Oil on panel, monogrammed JD lower left. 27 x 41 cm.

Estim. 600 - 800 EUR

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18th century school. Gallant luncheon in the open air. Oil on cardboard with oval view. 34 x 38 cm (accidents)

Estim. 300 - 500 EUR

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18th century Dutch school Portrait of a half-breed Oil on canvas mounted on cardboard with oval view 8.8 x 7.2 cm (view)

Estim. 50 - 100 EUR

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Nineteenth century school. Peasants. Oil on canvas. Gilded wood and stucco frame with palmettes. Accents, holes. 80 x 95.5 cm

Estim. 40 - 60 EUR

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French school, 19th century. Pair of oils on panel with religious subjects. 29 x 22.5 cm.

Estim. 400 - 500 EUR

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Nineteenth century school. Pastoral. Oil on panel. 11.5 x 15.5 cm

Estim. 100 - 150 EUR

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School circa 1800 Portrait of a woman in a white kerchief Oil on canvas (small lack) 14 x 12.5 cm (view)

Estim. 150 - 200 EUR

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18th century French school. Figure in ecstasy. Oil on canvas. Period frame. 76 x 60 cm.

Estim. 300 - 500 EUR

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Mario CORTIELLO (1907-1982). View of a village in southern Italy. Oil on canvas signed lower left, 1947 ? 40 x 50 cm.

Estim. 200 - 300 EUR

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20th century French school. The ru in the middle of the fields. Oil on isorel. 29 x 40 cm. Frame: 50 x 60 cm.

Estim. 200 - 300 EUR

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Jacques HUET (1937). "Rouen" on the Seine. Oil on canvas, signed lower right. 24 x 41 cm. Frame: 37 x 54 cm.

Estim. 100 - 200 EUR

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French school, 20th century. Snow-covered street. Oil on panel, signed POIRSON A and dated 1955 lower left. 49 x 56 cm.

Estim. 200 - 300 EUR

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Modern school. Still life with a bouquet of flowers and pears. Oil on canvas, bears an apocryphal Courbet signature lower left. 57 x 71 cm. (minor damage to canvas).

Estim. 500 - 600 EUR

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Modern school, in the style of GAUGUIN. Tahitian women. Oil on canvas. 60 x 48 cm.

Estim. 300 - 500 EUR

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Maurice ESNAULT (1854-1940). River landscape. Oil on canvas, signed lower left. 64 x 79 cm.

Estim. 200 - 300 EUR

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Edmond VAN COPPENOLLE (c.1843/46-1915). Still life with flowering basket. Oil on canvas signed lower right. 52 x 63 cm.

Estim. 600 - 800 EUR

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Gaston PROST (1881-1967). Still life with apples and grapes. Oil on panel, signed lower right. 30 x 38.5 cm.

Estim. 200 - 300 EUR

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Luigi ROCCA (1952). "La gitana". Oil on canvas, illegibly signed lower right and countersigned on the back. 70 x 50 cm.

Estim. 200 - 250 EUR

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Gustave VIDAL (1895-1966). - Leaving the church. Oil on canvas, signed lower right. 50 x 65 cm - The old mill. Oil on canvas, signed lower left. 50 x 65 cm

Estim. 200 - 300 EUR

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Hippolyte Camille DELPY (1842-1910). Marine nocturne. Oil on panel, signed lower right (wax stamps on back). Eighteenth-century gilded wood and stucco frame. 31 x 53 cm

Estim. 600 - 800 EUR

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Jules Émile SAINTIN (1829-1894). House in the forest. Oil on canvas, signed lower right, located and dated 1876. 27 x 32 cm

Estim. 200 - 300 EUR

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Jules Émile SAINTIN (1829-1894). Man with a rifle. Oil on canvas signed lower right, located Rome and dated 1854. 31 x 25 cm

Estim. 600 - 800 EUR

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Jules Émile SAINTIN (1829-1894). Portrait of a rabbi: Salomon Wolf Klein according to family tradition. Oil on canvas, signed upper left, located Paris and dated 1853 (accidents and restorations) 32.5 x 24.5 cm

Estim. 1 000 - 1 500 EUR

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Ferdinand BONHEUR (1817-1887). Marine par hauts vents. Oil on canvas, signed lower right (stains and small marks) 31 x 51 cm

Estim. 200 - 300 EUR

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Nineteenth century school. The cart. Oil on panel. Trace of signature lower right. 16 x 31.5 cm (rubbed).

Estim. 50 - 100 EUR

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Charles FOUQUERAY (1869/72 - 1956) Harbour scene Oil on canvas, signed lower right 35 x 42 cm

Estim. 300 - 500 EUR

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Roger CHAPELAIN-MIDY (1904-1992) Rue de la Flotte en Ré Oil on canvas, signed lower left 46 x 55 cm

Estim. 400 - 600 EUR

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François Pierre BARRY (1813-1905) The shipwreck Oil on canvas, signed lower left 50 x 60 cm

Estim. 600 - 800 EUR

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Roland OUDOT (1897-1981) Landscape Oil on canvas, signed lower right 65 x 81 cm

Estim. 300 - 400 EUR

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Nathalie L. Chartier POL (1905-?). Cat (46 x 61 cm) and Woman and Goat (92 x 65 cm). Two oil paintings signed.

Estim. 100 - 150 EUR

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Jean LALANDE (20th). Road in the countryside. Oil on canvas signed lower left and dated 43 (38 x 55 cm). Bouquet de fleurs. Oil on canvas signed lower right and dated.

Estim. 50 - 100 EUR

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Modern school. Young woman in profile. Oil on panel (accidents). 31 x 23.5 cm

Estim. 80 - 120 EUR

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Ignace Philippe ANTONY (1870 - ) Seaside cliffs, flight of seagulls Oil on canvas, signed lower left "P d'Antony". (accidents, restorations) 30 x 41 cm

Estim. 200 - 300 EUR

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Audrey Chico DUNCAN (XX) Still life with roses and candlestick Oil on parquet panel, monogrammed lower right 15.7 x 22.1 cm

Estim. 80 - 100 EUR

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Henri Gaston DARIEN (1864-1926) The forge - 1896 Oil on canvas, signed lower left and dated 96 (small missing marks) 61 x 83 cm

Estim. 500 - 700 EUR

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Zenon TRIGO (1850-1914) Lunch - 1906 Oil on canvas, signed lower left and dated 1906 (accidents, holes) 54 x 73 cm

Estim. 50 - 80 EUR

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Louis CADIERRA (20th) Canal in Venice Oil on canvas, signed lower right (accidents, holes, as is) 61 x 46 cm

Estim. 150 - 200 EUR

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René GUILLEMINOT (1900-1975). Carriage on a road. Oil on canvas Signed lower right. 22 x 27 cm. ATTACHED by the same artist René GUILLEMINOT (1900-1975). Stroll in the Bois de Boulogne. Oil on cardboard, signed René lower left. 23.5 x 31 cm.

Estim. 80 - 100 EUR

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John NAPPER (1916-2001). View of Venice. Oil on canvas, signed lower right and dated 1965. 97 x 130 cm (restorations)

Estim. 400 - 600 EUR

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Late 19th century school. A lakeside stroll against a mountain backdrop. Oil on panel, signed E. Robin? 17 x 31.5 cm

Estim. 10 - 20 EUR

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20th century school. Boat on the water. Oil on panel. 18.5 x 24 cm.

Estim. 50 - 80 EUR

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19th century school. Ruin and mill animated with characters. Oil on panel. 14 x 18 cm. Large gilded wood and stucco frame. A modern school is attached: "Mill near Rennes". Oil on panel. 24 x 17 cm

Estim. 100 - 150 EUR

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Modern school: The return of the harvest. Oil on panel, signed lower right and dated 55. 13.5 x 22.5 cm.

Estim. 80 - 100 EUR

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French school, early 19th century View of the Egg Castle in the Gulf of Naples Unmounted oil on canvas (accidental damage) 12 x 12 cm

Estim. 100 - 150 EUR

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19th century Swiss school, attributed to CALAME Landscape Oil on canvas (restorations) 42 x 60 cm

Estim. 150 - 200 EUR

Wed 24 Apr

λ MARIE LAURENCIN (FRENCH 1883-1956), L'ESPAGNOLE - λ MARIE LAURENCIN (FRENCH 1883-1956) L'ESPAGNOLEOil on canvas, ovalSigned (lower right)53 x 43cm (20¾ x 16¾ in.)Provenance:Peter Meltzer, Canada, Private Collection, where purchased by Count Manfredi della Gherardesca Exhibited:Toronto, Art Gallery of Ontario, on loan in memory of Elise and David Meltzer, 1979 This work is recorded in the Marie Laurencin Archives.Marie Laurencin's exposure to avant-garde movements at the turn of the 20th century in Paris were integral to her artistic development and heavily influenced her journey to find her unique and distinctive style. Her relationship with the poet Guillaume Apollinaire and introduction to Georges Braque, Pablo Picasso and important figures of l'ecole de Paris introduced Laurencin to artistic movements such as Cubism and Fauvism. Laurencin rose to prominence in Paris as a notable figure within the Cubist group and exhibited with the Section d'Or at the Salon des Independents in 1910-11. Following this, Laurencin was represented by Paul Rosenberg from 1913-1940. Despite this, Laurencin remained on the periphery of Cubism and Fauvism borrowing elements of stylisation such as simplified lines and segmenting the subject into planes of colour and shapes but with her own interpretation and approach, the image remained realistic and immediately familiar. Her dreamlike colour palettes became integral to her work and this contrasted with piercing eyes conjures an emotional response, melancholic and erotic. Marie Laurencin's ethereal female figure of a Spanish lady fills the oval composition. Her elongated face is balanced by the dramatic head piece which drapes across her forehead. The viewer is immediately struck by the jet-black eyes which penetrate through the canvas. Laurencin has used her distinctive colour palette of muted colours, blue, pink and pastel tones juxtaposed against the bold black lines which appear to represent the figure's mantilla held high upon the head traditionally by a peineta. Laurencin was exiled to Spanish with her husband at the start of the First World War until 1919, it is possible that this period inspired the present lot. By 1920, Laurencin settled back in Paris and rose to prominence as an established portrait painter and illustrator. The strong female figures which sat at the heart of her subject matter were also the driving force behind her art. Laurencin strove to promote creativity and artistic endeavours amongst women in a male dominated society. Laurencin supported the Société des Femmes Artistes Modernes and exhibited with the group on several occasions between 1931-1938. The Marie Laurencin Museum was opened in Japan in 1983 becoming the first museum in the world dedicated to a female painter. λ indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Estim. 15 000 - 25 000 GBP

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1 bottle Matarromera Magnum, Crianza, 1994. Ribera del Duero Spain. Red wine. 1,5l. See images to check the condition of the label. Bodegas Familiares Matarromera is a company dedicated to viticulture, wine and oil production, with presence in 6 Denominations of Origin: Ribera del Duero, Rioja, Rueda, Cigales, Toro, and Ribeiro. The result: high-end wines of international prestige. Heir to a privileged vineyard in one of the most exclusive areas of Ribera del Duero, Bodega Matarromera is dedicated to the production of grand reserve, reserve and crianza red wines, and a white wine, with total personality and excellence. According to the winery itself, "Its wines are the result of the perfect interplay between the creative genius of nature and the obstinacy of a man to recover the family tradition, to collect and perpetuate a legacy". **The images in each lot are the actual images of the object and are therefore part of the cataloging. Thus, the buyer accepts that the condition of the wines is shown in the images and/or in the cataloging, and that the content and fragility of the cork and the seal are not the responsibility of Setdart Auctions. The images in each lot are the actual images of the object and are therefore part of the cataloging. Thus, the buyer accepts that the condition of the wines is shown in the images and/or in the cataloging, and that the content and fragility of the cork and the seal are not the responsibility of Setdart Auctions.

Estim. 50 - 80 EUR

Wed 24 Apr

CONSTANTINOS MALEAS (1879-1928) View of the Acropolis signed in Greek lower left oil on board 59.5 x 83 cm (23 7/16 x 32 11/16in.) Painted c. 1918-1919. signed in Greek lower left oil on card Footnotes: Exhibitions Athens, Exhibition Hall of the Anatoli company, Exhibition of Paintings by C. Maleas, January 1919 (possibly). Paris, Galerie de la Boetiè, Group Techni (Ouevres d'un Groupe d'Artistes Héllènes), September 1-30, 1919 (possibly). Uniting a timeless world of ideal rhythms with the exuberance and zest of Attica's nature, Maleas captures the grandeur of the classical monument not as a lifeless relic of ancient glory but as a form of eternity constantly reborn in the present. While setting his easel and standing defiantly before the Acropolis, he is in search of new expressive forms and a deeper pictorial truth. This was also the quest of the revolutionary 'Omas Techni' art group, which was founded around the same time and had already infused the forces of renewal in Greek painting with a fresh and vital impetus. Maleas's return to Athens in 1917 afforded him the opportunity to concentrate on the sacred rock, something he couldn't do during his brief visits in the past when he lived in Thessaloniki. As noted by Dr. S. Lydakis, 'his permanent residence in Athens signalled a new period in his work. Experimentation subsided and the admirable maturity of his paintings showed that the artist was at the height of his creative powers.'¹ Here, he chose a western vantage point because it offered him one of the best views of the citadel as a harmonious ensemble of illustrious monuments-the majestic Propylaea and the Parthenon, this classical masterpiece and timeless symbol of ordered thought and everlasting value. Painting outdoors among pine trees, aloes, and cypresses, Maleas was able to retain the freshness of execution and fidelity to nature's effects, aiming not to produce a romanticised view of ancient splendour or a picturesque scene of evocative detail, but to investigate and solve pictorial issues beyond the mere recording of a specific location. Since his early output, the one element that defined Maleas's art above anything else was his effort to organise the pictorial space as a system of forms, where nothing was random and everything followed a compositional plan that constituted a new reality.'² Although Maleas painted what was in front of him with complete directness, he did so with a deep understanding of the landscape as a complex entity. While entrusting his subject to the truth of vision, he also ventured beyond atmospheric effects to penetrate the inner world of the landscape and become part of its reality.³ He sought an underlying structure for his studies on colour, paint and light, a kind of sturdy pictorial scaffolding that would allow him to convey a sense of endurance and permanence akin to the atmosphere emanating from the awesome site. His architectural studies helped him fully comprehend the teachings of Cezanne, who had exhorted painters to look for solidity beneath the surface patterns and treat their subjects in terms of primary geometric forms to discover their enduring character and essential content. Moreover, this captivating view of the Acropolis showcases the artist's predilection for curvilinear motifs and rhythmic patterns that invest the picture with fluid art-nouveau touches. Its wonderful colours-including a set of eye-smacking mauves and lavenders that instantly recall Parthenis's Alentours de l'Acropole⁴-move it towards the poetic atmosphere of symbolism. It can be argued that, judging from the predominance of elaborate natural motifs, the painter intended to submit the man-made environment to a natural order. As noted by Professor A. Kotidis in his monograph on the artist, 'this is an eloquent allusion, typical of Maleas's symbolism: human creations are finite and transient, while nature is infinite and eternal.'⁵ Another reading, equally symbolist, may suggest that the painter aspired to a creative fusion of nature and culture on equal terms: as much awesome as nature may be, the Parthenon's timeless beauty is nothing short of miraculous. ¹. S. Lydakis, 'Constantinos Maleas' [in Greek] in The Greek Painters - 20th Century, vol. II, Melissa editions, Athens 1975, p. 61. ². A. Kotidis, Constantinos Maleas [in Greek], Adam editions, Athens 2000, p. 188. ³. See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Century, Ministry of the Aegean edition, Athens 1999, p.30. ⁴. Sold by Bonhams - Cornette de Saint Cyr, Greek Sale, November 22, 2023, lot 9. ⁵. A. Kotidis, Constantinos Maleas, p. 155. For further information on this lot please visit Bonhams.com

Estim. 25 000 - 35 000 EUR

Wed 24 Apr

THEOFILOS HADJIMICHAEL (1871-1934) Theodoros Kolokotronis, Marshal of the Peloponnese natural pigments on wall pasted on canvas 181 x 177 cm (71 1/4 x 69 11/16in.) natural pigments on wall mounted on canvas Footnotes: Provenance D. Taktikos collection, Mytiline. Private collection, Athens. Exhibitions Athens, Hellenic American Union, An Exhibition of Murals and Paintings by Theophilos, March 17 - April 10, 1970 (listed in the exhibition catalog, no. 26). Literature D.A. Kokkinos, History of Modern Greece, vol. I, Mellissa editions, Athens 1970, p. 375 (illustrated). A national treasure, this monumental work which pays homage to a giant of the 1821 Uprising, is one of the few surviving wall paintings by Theofilos, rescued from decay and destruction, and transferred onto panel from its original wall in a village on the island of Lesvos (Mytilene). Leading military hero of the War of Independence, Theodoros Kolokotronis (1770-1843) was a tough klephtic chieftain and a remarkable individual committed to the idea of freedom. Celebrated writer Nikos Kazantzakis described him as a true leader of the Greek race: he had faith, optimism, tenacity, valour, a certain practical mind, and a deceptive versatility, like Odysseus. He had both impulse and restraint, he knew how to retreat so that he could advance; hemmed in by enemies he was forced to mobilise all his bravery and wile so that the race would not be lost.¹ Victor over two large Turkish armies-at Valtetsi and Dervenakia-he achieved legendary status and laid the foundations for the successful outcome of the long struggle for independence. Here, Kolokotronis is presented on horseback in full regalia, recalling the artist's representations of Byzantine Emperor Constantine Palaiologos or Alexander the Great. This correlation shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory as a form of eternity constantly reborn. The Greek hero is wearing his signature British Napoleonic helmet with gold-plated bronze decorations, which dates from the time he was serving under the command of Richard Church in the 1st Regiment Greek Light Infantry in the Ionian Islands (1810-1816). He's also sporting the characteristic fustanella kilt-the same white 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. The iconography is based on Lazaros Sochos's famous equestrian statue of Kolokotronis which was awarded a gold medal in Rome in 1900. The horseback hero does not have the passive or indifferent posture usually associated with equestrian statues. He is not portrayed as a triumphant conqueror but, rather, as a true leader of his people showing them the way forward.² The inscription at the upper left, reading 'the field-marshal of the Peloponnese Theodoros Kolokotronis from 1827 to 1830,' reflects the painter's desire to provide a full description of his subjects by leaving nothing obscure. This piece of information is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectator's imagination the world of gallantry and legend they are invited to contemplate. ¹. See N. Kazantzakis, Travels in Greece (Journey to the Morea), London 1966. See also P.H. Paroulakis, The Greeks: Their Struggle for Independence, Hellenic International Press, Australia, 2000. ². See C. Christou, M. Kouvakali-Anastasiadi, Modern Greek Sculpture 1800-1940, Commercial Bank of Greece edition, Athens 1992, p. 62. For further information on this lot please visit Bonhams.com

Estim. 130 000 - 180 000 EUR

Wed 24 Apr

THEOFILOS HADJIMICHAEL (1871-1934) The Gulf of Yera, Lesvos natural pigments on wall pasted on canvas 87 x 124 cm (34 1/4 x 48 13/16in.) natural pigments on wall mounted on canvas Footnotes: Provenance D. Taktikos collection, Mytiline. Private collection, Athens. In 1926, following a forty-year odyssey, Theofilos returned to his native Mytilene, where he 'enjoyed a very creative and prolific period, during which he painted some of his best works.'¹ The verdant countryside and calm Mediterranean landscape of his homeland allowed him to express his deep-felt fascination with nature. (Compare Bay of Yera, 1932, Theofilos Museum, Mytilene). Filtered through the artist's rich imagination, imbued with a spirit of untutored simplicity and handled with vibrant colour, the natural environment is transformed into the enthusiasm sparked in him by the luxuriant vegetation. Even the figure of the priest on the foreground and the crucifix on the middle left are so well integrated into their natural surroundings that they become part of the landscape. As noted by painter O. Kanellis, '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. Any sense of distance is eliminated and we are surrounded by lush trees, pristine grasslands and crystal clear waters in a lucid, diaphanous atmosphere. Only Bonnard and Theofilos were able to convey this feeling.'² ¹. N. Matsas, The Tale of Theofilos [in Greek], Estia editions, Athens 1978, p. 153. ². O. Kanellis, 'The Painter Theofilos' [in Greek], Tachydromos magazine, no. 379, July 15, 1961. For further information on this lot please visit Bonhams.com

Estim. 25 000 - 30 000 EUR

Wed 24 Apr

NIKOS ENGONOPOULOS (1907-1985) Landscape signed in Greek and dated '66' lower right oil on canvas 32 x 23 cm (12 5/8 x 9 1/16in.) Painted in 1966. signed in Greek and dated '66' lower right oil on canvas Footnotes: Literature K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalog and catalog raisonée, Benaki Museum, Athens 2007, no. 202, p. 241 (illustrated), p. 409 (catalogued, discussed and illustrated). A remarkable recent find, Paysage showcases the painter's life-long fascination with Greek architecture. As noted by his first wife, artist Nelli Andrikipoulou, 'these works were such accurate representations and, at the same time, personal interpretations of reality that [the architect] Dimitris Pikionis justly called them 'psychographs of buildings'. They truthfully reflect Engonopoulos's inner beauty and graciousness.'¹ Captured in fiery red and diligently rendered, the stately mansion-a characteristic example of late Athenian neoclassicism²-dominates the left part of the painting, while on the right middleground an enigmatic gate-like structure with a yellow curtain thrown over it conveys a pronounced sense of theatricality. As noted by art historian P. Rigopoulou, the artist never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting.³ ¹. N. Andrikopoulou, 'Unknown Aspects in the Life and Work of Nikos Engonopoulos' [in Greek], Lexi magazine, no.77, September 1988, p. 654. ². See E. Benisi, Nikos Engonopoulos and Cityscapes [in Greek], doctoral dissertation, vol. 1, Athens 2002, p. 79. ³. P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou - A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com

Estim. 20 000 - 30 000 EUR

Wed 24 Apr

MICHALIS ECONOMOU (1888-1933) Chapel with cypresses signed 'M.Economou' lower left oil on flannel 61 x 50cm (24 x 19 11/16in). Painted c. 1927. signed 'M.Economou' lower left oil on flannel laid on canvas Footnotes: Provenance Private collection, Athens. Literature A.Kouria, Michalis Economou, Adam editions, Athens 2001, no. 115, pp. 256-257 (catalogued), p. 165 (illustrated). Evocative flames of dark green flare from the earth against an animated sky, echoing Van Gogh's famous cypresses.¹ This mesmerizing work probably dates after 1926, the year Economou returned to Greece from France, and was most probably completed in 1927, when he had his second personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were 'true works of poetry, but so masterfully rendered that their significance as paintings prevailed.'² Critics of the time stressed the museum quality of these works and urged art lovers to hasten and purchase them. In light of such critical and popular acclaim, it's no wonder that Economou's works adorned the collections of major early 20th century Greek collectors, such as C. Loulis, G. Stringos and A. Benakis. Benakis.³ In this evocative rendition infused with an ethereal light and a hazy, dreamlike atmosphere, nature becomes a landscape of the artist's inner world, while reality is transformed into an image of subjective truth. As noted by art historian A. Kouria, who prepared the artist's monograph, 'an ambivalent sense of presence/absence suffuses these silent images, suspended between real time and memory... In some paintings, the pines and cypresses seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks.'⁴ 'The cypress tree, a favourite motif of Symbolist painting charged with Romantic overtones, appears in Economou's art as a symbol of his inner self and his strongly subjective response to external world stimuli; it becomes a vehicle of the feeling he wishes to communicate through his art.'⁵ ¹. Compare V. Van Gogh, Road with cypresses, 1890, Kröller-Müller Museum, Otterlo. Van Gogh was fascinated by cypresses as natural equivalents of architectural forms. He admired their inherently expressive character, stressed their spiritual significance and compared their colour to a musical note. ². Elliniki newspaper, December 4, 1927. See also A. Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, p. 125. ³. See Kouria, Michalis Economou, p. 125. ⁴. Ibid, pp. 108-113. ⁵. Michalis Economou, The Alchemy of Painting, exhibition catalog, E. Averoff Museum of Modern Greek Art, Metsovo - Evangelos Averoff-Tossizza Foundation, 2023, p. 155. For further information on this lot please visit Bonhams.com

Estim. 20 000 - 30 000 EUR

Wed 24 Apr

NICHOLAOS GYSIS (1842-1901) Stilleben, Nelken signed 'N. Gysis' lower left oil on canvas 77 x 63 cm (30 5/16 x 24 13/16in.) signed 'N. Gysis' lower left oil on canvas Footnotes: Provenance Private collection, Athens. Exhibitions Berlin, Landes-Ausstellungsgebäude, Grosse Berliner Kunst-Ausstellung 1893, May 14 - September 17, 1893, no. 529 (listed in the exhibition catalog, p. 36). Literature The Greek Painters, vol. 1, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 156 (mentioned). Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to Date, Pierides Foundation edition, Thessaloniki 1992, p. 64 (mentioned). Gyzis in Tinos, 100 Years from the Death of the Artist, exhibition catalog, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 36 (shown in a photograph with the artist in his studio, c. 1899). Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 101 (mentioned). Against a dark backdrop, comparable to still lifes by Boudin and Manet, Gyzis juxtaposes an alluring bouquet of carnations placed casually in a tall glass vase. Apparently, he is not interested in creating an opulent arrangement that would dazzle the viewer with its meticulous naturalistic detail, abundance of material, and wide range of hues. Instead, by assigning a leading role to the light falling on the flower heads, he seeks through stark contrast and glowing colour to capture freshness and delicacy and achieve a unified and dramatic effect. The red, white, and pink blossoms are dashed off with perfect assurance that the artist's brush will suggest both tactility and featheriness, convey the essence rather than the appearance of the subject, and deliver a perfectly balanced floral composition that bursts with life. For further information on this lot please visit Bonhams.com

Estim. 15 000 - 20 000 EUR

Wed 24 Apr

NIKOS ENGONOPOULOS (1907-1985) Poet and villager signed in Greek and dated '65' lower right oil on canvas 55 x 45cm. (21 5/8 x 17 11/16in.) Painted in 1965. signed in greek and dated '65' lower right oil on canvas Footnotes: Provenance Private collection, Athens. Exhibitions Athens, National Gallery and Alexandros Soutzos Museum, Nikos Engonopoulos retrospective exhibition, April 3-15, 1983, no. 62 (listed in the exhibition catalog, p. 44). Literature Eleftheros Kosmos newspaper, March 29, 1981 (illustrated). K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalog and catalog raisonée, Benaki Museum, Athens 2007, no. 689, pp. 317, 469 (illustrated). I am a Greek along with the familiar images that surround me. N. Engonopoulos Captured in dazzling Byzantine colours, flooded with light, and bathed in a translucent atmosphere of clarity and glow, this signature Engonopoulos is imbued with a genuine and deep-felt sense of Greekness. Everything here, from the two figures¹ in tunics who convey a feeling of archaic immobility, to the bright blue sky dotted with travelling clouds, to the ancient temple perched on a rocky outcrop, and the ubiquitous coffee house table and straw chair, is conceived with a centuries-old Greek sensibility. The artist boldly declares that this archetypal environment is a stunning presence, while the sea is actually never far away, reaching into the shore like a friendly hand. As noted by art historian N. Loizidi, 'Engonopoulos gave us one version of surrealism, universal, but at the same time deeply rooted in Greekness.'² In a similar vein, S. Boulakian points out that 'the lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element. Engonopoulos's work emulates Greece's natural environment, a setting that both frames and accentuates human activity.'³ In Poet et villageois, color, a key element throughout Engonopoulos's artistic career, has a leading role. The glittery, enamel-like reds, yellows, blues, and greens are applied side by side on the canvas without tonal gradations, inviting the viewer to a festive ritual of purity. As noted by art critic M. Gyparaki, Engonopoulos is a dedicated coloriste, adhering to a long and rich Greek tradition that goes way back to the Homeric epics, a world full of colours that are bound with natural elements, human acts and everyday objects.⁴ ¹. The seated figure wears a ring on his index finger, essentially identifying with Engonopoulos himself who used to wear a characteristic ring on the same finger. See D. Menti, Faces and Masks [in Greek], Gutenberg editions, Athens 2007, pp. 135-136, note 34. See also Chartis review, no. 25-26, November 1988, p. 172. ². N. Loizidi, Surrealism in Modern Greek Art [in Greek], Athens 1984, p. 181. ³. S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century [in Greek], Melissa editions, Athens 1974, p. 261. ⁴. See Nikos Engonopoulos, Drawing or Colour [in Greek], Ikaros editions, 2007, p. 126. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com

Estim. 50 000 - 70 000 EUR

Wed 24 Apr

GEORGIOS JAKOBIDES (1852-1932) Little girl reading signed 'G. JAKOBIDES' upper left oil on canvas 52.5 x 39.5 cm (20 11/16 x 15 9/16in.) Painted c. 1882. signed 'G. JAKOBIDES' upper left oil on canvas Footnotes: Provenance Bonhams London, The Greek Sale, May 20, 2008, lot 22. Acquired from the above sale by the present owner. Exhibitions Munich, Münchener Kunstverein exhibition, 1882. Literature The artist's notebook 1878-1919, no. 7 (mentioned) [Lesendes Mädchen, 1882]. Neueste Nashrichten newspaper, August 31, 1882 (discussed). Bayerishher Kourier newspaper, September 2, 1882 (discussed). Deltion tis Estias magazine, no. 298, September 12, 1882 (discussed). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 239 (listed). Dictionary of Greek Artists, vol. 4, Melissa editions, Athens 1976, p. 140 (listed). O. Mentzafou-Polyzou, Jakobides, Adam editions, Athens 1999, no. 52 (catalogued, p. 337, discussed, p. 72, and illustrated, p. 71). Dictionary of Greek Artists, vol. 2, Melissa editions, Athens 1998, p. 36 (mentioned). Georgios Jakobides Retrospective, exhibition catalog, National Gallery and Alexandros Soutzos Museum, Athens 2005, p. 145 (mentioned), p. 146 (discussed), p. 156, fig. VIII (illustrated). H. Iakovidou, A. Iakovidou, Inside the Picture, Adam editions, Athens 2005, p. 25 (illustrated). A great example of Jakobides's finest work, Petite fille lisant is a museum-quality jewel by this quintessential Greek painter of young children. As noted by the late Director of the National Gallery in Athens M. Lambraki-Plaka, 'Jakobides was one of the most sensitive and at the same time perceptive painters who delved into childhood's psyche. This insightful psychologist and keen observer of human nature was also an unsurpassed draughtsman. This rare combination enabled him to render what he saw and felt with unmatched verisimilitude.'¹ In her monograph on the artist, art historian O. Mentzafou-Polyzou discusses the work at length: 'In 1882, Jakobides exhibited Girl reading at the Munich Art Society, receiving favourable comments for both its subject and style. A young girl holds a newspaper with utter seriousness and pretends to read in imitation of adult behaviour, directing her gaze through a pair of eyeglasses perched on the tip of her nose. The painter lends the figure a commanding presence through meticulous observation and detailed description. The fine handling of detail in the girl's garments and the concentration of light and shadow effects on her face and hands endow the picture with a sense of genuineness and lively presence.' 'Without abandoning the narrative, humoristic aspect of kindermalerei, in this work Jakobides closely adheres to realist principles in the vein of W. Leibl's² truthful figuration, a kinship promptly noted by contemporary critics: 'The painting Petite fille lisant exhibited by Jakobides is very attractive and beautiful. The harmonious unity of effect and the excellent draughtsmanship are reminiscent of the subject matter and style of the famed Leibl. The girl is completely absorbed in reading; the viewer forms the impression that, though silent, her glowing lips are vaguely moving. The overall handling is impeccable. Such naturalness should appeal to everybody.'³ And it is not just the supreme clarity of the rendered figure that recalls 16th and 17th Flemish art and can be related to the work of Leibl, nor the painstaking realism in rendering detail, achieved through the concentrated lighting of specific areas, that bring out the work's superior pictorial quality. It is mainly the isolation and presentation of a simple everyday story which stands on its own right without having to depend on complementary themes.'⁴ For Jakobides, childhood hardly ever represented an idealised world. The artist has been recognised as a leading painter of children precisely because he managed to look beyond beautified sentimental stereotypes and capture a wide variety of childhood expressions, from the most contorted, as in Combing Out, to the most subtle and evocative, as in Petite fille lisant. Here, set against a neutral, monochromatic background, rooted in ancient Greek relief sculpture and Byzantine icon painting, which underscores and highlights the young sitter's elegance and simple grandeur, Jakobides produced, with astonishing wealth of detail and tender minuteness of touch, a masterful rendition of the child's expression and facial characteristics. His greatness is reflected in his ability to observe and record not just an expression, not even the slightest change in expression, but the hint of an expression, one that has not yet become but is on the verge of becoming apparent. Without resorting to intense gesticulations, as in the various versions of the Bad Grandson, the artist captured on canvas the essence of childhood's incessant energy lurking under a seeming

Estim. 50 000 - 70 000 EUR

Wed 24 Apr

NICHOLAOS GYSIS (1842-1901) Farmer from Tinos signed 'N. Gysis' lower left oil on panel 41 x 31 cm (16 1/8 x 12 3/16in.) signed 'N. Gysis' lower left oil on panel Footnotes: Provenance Sale No 237 of Neumeister, Munich, 11/12/1986. Private collection, Athens. Bonhams London Greek Sale of 13/12/2005, lot 43. Acquired from the above sale by the present owner. Exhibitions Athens, Pieridis Gallery, Greek Artists in Corporate Private Collections, April 8-19, 1987. Literature N. Misirli, Gyzis, Adam editions, Athens 1995, pp. 368, no. 20 (catalogued), p. 62 (illustrated). This work of expressive power and incisive observation is a tribute to the artist's birthplace. In N. Misirli's account of the artist's oeuvre and systematic compilation of his works, it is the only painting bearing a title associated with the island of Tinos, his place of birth.¹ Following a life-changing trip to Greece in 1872, his first after seven years in Germany, Gyzis returned to Munich in 1874 full of vibrant images and vivid impressions of his homeland. In Marcel Montandon's classic monograph on Gyzis, we read: 'Now starts the most fruitful period of the artist's genre painting; Gysis is in Munich only in body; his thoughts constantly return to the beauty of the Aegean Sea. His brush conveys powerful images of daily life in Athens, Smyrna and Tinos.'² Magnificent and psychologically acute, the portrait of the young islander shows no signs of idealisation, its unadorned beauty emanating from within, depending on the honesty of representation, genuineness of character and purity of form. Impeccably painted in warm, earthy colours highlighted by solid outlines and bold brushwork, the work captures the limpid, piercing gaze of the subject, impelling the viewer to delve beyond the surface and seek the inner world of the young Greek. The portrait's captivating immediacy and resilient allure is a testament to Gyzis' power of an imaginative transaction between the subject, the artist and the beholder. ¹. N. Misirli, Gyzis [in Greek], Adam, Athens 1995. ². M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, pp. 56-57. For further information on this lot please visit Bonhams.com

Estim. 30 000 - 50 000 EUR

Wed 24 Apr

THEOFILOS HADJIMICHAEL (1871-1934) The angel of love natural pigments on wall pasted on panel 153 x 135 cm (60 1/4 x 53 1/8 in.) (panel size 162 x 142 cm.) natural pigments on wall mounted on panel Footnotes: Provenance Painted by the artist c. 1925-28 in the family house in Lesvos of the present owner. One of the few surviving murals by Theofilos, this elaborate ceiling fresco was rescued from destruction in 1982 and restored with great care after being transferred onto canvas from its original wall in a traditional country mansion in the artist's native village of Vareia on the island of Lesvos (Mytilene). As noted by N. Matsas in his well-known book on Theofilos, first published some twenty years earlier, most of the artist's wall paintings on the island were long lost. Those that were rescued are now owned by genteel and wise people who appreciate their value and bless the humble painter for the gifts he gave them-feasts for the senses and true delights to the eye.'¹ The challenging restoration project revealed a world of brilliant colours, energetic brushstrokes and boldly drawn outlines. The adorable scene of a child in marine outfit being lovingly looked after by his guardian angel is filtered through the artist's rich imagination and imbued with a spirit of untutored simplicity, reflecting the fondness of the island's inhabitants for a carefree attitude towards life. The two figures stand amidst brilliant oranges, sparkling greens and radiant blues that echo the magnificent Byzantine harmonies, while the floral motifs embellishing the frame suggest a particularly happy period in Theofilos's art and life. This is how novelist K. Ouranis described his feelings when he first saw Theofilos's murals in a village coffee-shop on the island of Mytilene: 'I felt a child-like joy, pure and deep. The room seemed like a magic cage, adorned with dazzling gems, inside which sang like a bird the Greek soul.'² ¹. N. Matsas, The Tale of Theofilos [in Greek], Estia editions, Athens 1978, p. 153. ². K. Ouranis, 'The Painter Theofilos' [in Greek], Nea Estia journal, no. 19, November 15, 1936. For further information on this lot please visit Bonhams.com

Estim. 30 000 - 50 000 EUR
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