The Greek Sale New Bond Street, London | 7 April 2020

The Greek Sale New Bond Street, London | Tuesday 7 April 2020 at 2pm

VIEWINGS BIDS ENQUIRIES REGISTRATION Athens +44 (0) 20 7447 7447 London IMPORTANT NOTICE 36 Amalias Avenue +44 (0) 20 7447 7401 fax Anastasia Orfanidou Please note that all customers, 10558, Athens To bid via the internet please visit +44 (0) 20 7468 8356 irrespective of any previous Thursday 26 March www.bonhams.com anastasia.orfanidou activity with Bonhams, are 11am to 8pm @bonhams.com Friday 27 March Please note that bids should be required to complete the Bidder 11am to 8pm submitted no later than 4pm on Athens Registration Form in advance of Saturday 28 March the day prior to the sale. Terpsichore Maria Angelopoulou the sale. The form can be found 11am to 6pm Lola-Theodora Stefanidou at the back of every catalogue Sunday 29 March New bidders must also provide Philippe Glyptis and on our website at www. 11am to 3pm proof of identity when submitting Timos Economopoulos bonhams.com and should be bids. Failure to do this may result +30 210 36 36 404 returned by email or post to the London in your bid not being processed. [email protected] specialist department or to the 101 New Bond Street Telephone bidding will only be [email protected] bids department at W1S 1SR, London accepted on lots with a lower 7, Neofytou Vamva Street Saturday 4 April estimate in excess of £1,000. 106 74 Athens [email protected] 11am to 3pm Sunday 5 April Live online bidding is CUSTOMER SERVICES To bid live online and / or leave 11am to 3pm available for this sale Monday to Friday internet bids please go to Monday 6 April Please email [email protected] 8.30am to 6pm www.bonhams.com/ 9am to 4.30pm with “Live bidding” in the subject +44 (0) 20 7447 7447 auctions/25975 and click on the Tuesday 7 April line 48 hours before the auction +44 (0) 20 7447 7401 Fax Register to bid link at the top left 9am to 12 pm to register for this service. of the page. Please see back of catalogue SALE NUMBER for important notice to bidders. 25975 As a courtesy to intending CATALOGUE bidders, Bonhams will provide a £20.00 written Indication of the physical condition of lots in this sale if a ILLUSTRATIONS request is received up to 24 Front cover: Lot 16 hours before the auction starts. Back cover: Lot 82 This written Indication is issued Inside front cover: Lot 6 subject to Clause 3 of the Notice Inside back cover: Lot 3 to Bidders.

Bonhams 1793 Limited Registered No. 4326560 Registered Office: Montpelier Galleries Montpelier Street, London SW7 1HH

+44 (0) 20 7393 3900 +44 (0) 20 7393 3905 fax Sale Information

BIDS BUYERS COLLECTION & For small sized paintings VAT +44 (0) 20 7447 7447 STORAGE AFTER SALE if the largest dimension is Will be applied at the current rate +44 (0) 20 7447 7401 fax All sold lots will remain in collections smaller than 70cm, there on all above charges To bid via the internet please visit in New Bond Street without charge will be a charge of £200+VAT www.bonhams.com until 5.30pm Tuesday 21 April The following symbol is used 2020. Lots not collected by this For medium sized paintings to denote that VAT is due on PAYMENTS time will be returned to the Greek if the largest dimension is the hammer price and buyer’s Buyers department storage charges may between 71cm and 150cm, premium +44 (0) 20 7447 7447 apply. there will be a charge of £250+VAT +44 (0) 20 7447 7401 fax † VAT 20% on hammer price Bonhams can arrange shipment For large sized paintings and buyer’s premium SELLERS to the Athens office on behalf if the largest dimension is Payment of sale proceeds of successful purchasers. 151cm or larger, there will * VAT on imported items at a +44 (0) 20 7447 7447 Those who wish to ship their be a charge of £300+VAT. preferential rate of 5% on hammer +44 (0) 20 7447 7401 fax items to Athens please inform price and the prevailing rate on us by 6pm on the day of the PLEASE NOTE THAT buyer’s premium VALUATIONS, TAXATION sale for your lots to be included DIMENSIONS & HERITAGE in our consolidated shipment. INCLUDE FRAMES Y These lots are subject to CITES +44 (0) 20 7468 8340 Tel: +44 (0) 20 7468 8356 regulations, please read the +44 (0) 20 7468 5860 fax Email: [email protected] Sculptures information in the back of the [email protected] For sculptures below 150cm, catalogue. there will be a charge of CATALOGUE SUBSCRIPTIONS £250+VAT. To obtain any Bonhams catalogue Please note that Bonhams will or to take out an annual For sculptures exceeding 150 cm be closed from 5.30pm Thursday subscription: there will be a charge of £300+VAT 9 April 2020 until 9am Tuesday Subscriptions Department 14 April 2020 for the Easter +44 (0) 1666 502200 Bank Holiday. +44 (0) 1666 505107 fax [email protected] Please note that Cadogan Tate will be closed from 4.30pm Thursday 9 April 2020 until 9am SHIPPING Tuesday 14 April 2020 for the For information and estimates Easter Bank Holiday. on domestic and international shipping as well as export licenses please contact Alban Shipping on +44 (0) 1582 493 099 [email protected] The Greek Sale Lots 1 - 122 Works from the distinguished Collection of Nia Stratos Lots 1 - 9

1

1AR 2AR THANOS TSINGOS (1914-1965) NIKOS HADJIKYRIAKOS-GHIKA (1906-1994) Green flower on white background Shutters I signed ‘Tsingos 61’ (upper left) signed ‘K.GHIKA’ (lower center) oil on canvas oil on cardboard 37.5 x 61 cm. 34 x 27 cm. Painted in 1961. Painted c. 1927.

£5,000 - 7,000 £8,000 - 12,000 €5,900 - 8,200 €9,400 - 14,000

Provenance G. Isaias collection, Athens. Nia Stratos collection, Athens.

Exhibited Athens, Stratigopoulou Gallery, Exhibition of Paintings and Sculpture by N. Hadji-kyriakos Ghika and Michael Tombros, May 1-31, 1928, no. 15 (listed in the exhibition catalogue, p. 4). Athens, National Gallery - Alexandros Soutzos Museum, Ghika, May 1973 (not included in the exhibition catalogue). Athens, To Trito Mati Gallery, Nikos Hadjikyriakos Ghika, 1st Retrospective Exhibition 1921-1934, May 11 - July 3, 1977.

6 | BONHAMS 2

Literature Cahiers d’Art, Paris, no. 6, 1927, p. 217 (illustrated). Ghika, who had recently given up portraiture, nude and landscape To Trito Mati Gallery Bulletin, no. 1, May 1977, p. 21, no. 49 painting to concentrate on interior and studio views in the spirit of (catalogued and illustrated). the early 20th century avant-garde, focuses here on the interplay N. Petsalis-Diomidis, N. Hadjikyriakos-Ghika, Catalogue Raisonné of volumes and planes that look intensified by the oblique evening 1921-1940, Athens 1979, no. 52, pp. 238 (listed), 130 (catalogued light. This pronounced schematization of form accompanied by an and illustrated). overall feeling of naiveté is greatly indebted to the proto-renaissance J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar primitive styles he had recently discovered during his travels in Italy, Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, while pointing to the post-Cubist trends, which he was to become Athens 2004, pp. 48, 51 (discussed), fig. 20, p. 53 (illustrated). increasingly associated with. As noted by art critic Maurice Raynal in E. Mystakas, Nikos Hadjikyriakos-Ghika and Space in his Painting, 1927, “Ghika belongs to the group of artists who, while adhering to doctoral dissertation, Athens, 2005, p. 148 (discussed), fig. 13, p. 308 the tenets of Cubism are now attempting to expand them, without (catalogued), p. 150 (illustrated). adulterating them with sentimental or literary pretexts...From his Greek K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki origins he retains a fondness for light and architecture.”1 Museum, Athens 2011, p. 53 (discussed), fig. 38, p. 51 (illustrated). 1 See J.-P. De Rycke - N. Paisios, Ghika and Avant-garde in Interwar Echoing de Chirico’s metaphysical spaces and Matisse’s Europe, Benaki Museum - N. H. Ghika Gallery, Efesos editions, Athens psychologically acute interiors, this historic 1927 Ghika shows a 2004, pp. 199, 201. window view from the artist’s family home in Athens at 25 Omirou Street, which he visited regularly while residing permanently in Paris since 1923.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 7 3AR NIKOS HADJIKYRIAKOS-GHIKA (1906-1994) “I tried to evoke the whispering of leaves, the buzz of insects, the Terrace plant movements of tree branches, the breathing of the juices, the swirling of signed and dated ‘Ghika/65’ (lower right) petals. The artist discovers pulsating rhythms derived from his intimate oil on canvas relationship with nature. He discovers them in the leaves and insects, 100 x 73 cm. in the light and the shadows cast by wind-swayed trees, in the flight of birds and the nuances of colour. In other words, I want the viewer to £50,000 - 70,000 feel the knife used to carve out nature. I want him or her to even feel €59,000 - 82,000 the music, the sounds emanating from the orchestration of different forms, different shapes, different lines and not only the orchestration Exhibited but, if possible, even the inherent scent they exude, which is the Athens, National Gallery - Alexandros Soutzos Museum, Ghika, May most elusive sense of all.”3 “Every artist who is by nature a colorist 1973, no. 115 (listed in the exhibition catalogue). bears within him his own harmonies of colour, which are never exactly Athens, Benaki Museum, N. Hadjikyriakos Ghika, The Apollonian, those of nature but those of his own ideal of nature. In my case, these the Dionysian 1906-1994, November 11, 2006 - January 15, 2007 harmonies are mainly composed of mauves, greys and pinks, but sun- (illustrated in the exhibition catalogue, no. 236, p. 140). drenched, sun-saturated colors that have at the same time preserved something of the brightness which might have been theirs in a less Literature cruel light.”4 K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum, Athens 2011, no. 366, p. 300 (illustrated). “What remains as my strongest impression about Ghika’s work is its constant inspiration from nature – the wonder, the strength, the beauty, the power, the patterns. I asked him if nature was always inspiring to A riot of festive colours and a lacework of energetic lines and him and he answered, Always. No matter what happens in life, nature rhythmically orchestrated forms, this luminous and cheerful painting of is always an inspiration.”5 Dionysian contemplation and paganistic zeal aptly illustrates Ghika’s ability to filter the world around him through his rich imagination 1 See N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian [in Greek], and transform an ordinary terrace plant into an expression of the exhibition catalogue, Benaki Museum, Athens 2006, p. 52. enthusiasm sparked in him by nature. Every part in the picture is 2 See M. Achimastou-Potamianou, “The Art of Ghika” [in Greek], in The imbued with the breath of the exuberant flora and the refractions of Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975”, light, exploding into dazzling mosaic-like fragments that spin and swirl p. 340. around enigmatic webs of geometric and patterned features so that 3 See N. Hadjikyriakos-Ghika, The Birth of New Art [in Greek], the whole composition is in a state of perpetual becoming, immersed Astrolavos-Efthini editions, Athens 1987, pp. 232-234; N. in a constantly changing and revived atmosphere.1 Hadjikyriakos-Ghika, In Front of Others [in Greek], Athens 1990, p. 25. See also transcribed excerpts from the ‘Monogramma’ television From the late 1950s on, Ghika’s ordered architectural structures were documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika [in Greek], gradually replaced by a world subject to natural forces,2 to explosions Tegopoulos editions, Athens, 2009, p. 150. of colour and form, where trees, leaves, bushes and flowers were set 4 Ghika’s interview by E. Roditi, The Charioteer magazine, vol. 1, no. 2, in motion, engaged in a perpetual Dionysian dance. Inspired perhaps Autumn 1960, p. 55. by Japanese calligraphy’s pronounced gestures and constant flow of 5 H. Livas, Contemporary Greek Artists, Vantage Press, New York, brush and pen, his landscapes became denser and more mystical, 1993, p. 11. reflecting his perception of nature as a cosmogony invested with pantheistic rituals and Oriental myths.

For details of the charges payable in addition to the final Hammer Price of each Lot 8 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 9 4AR ALECOS CONDOPOULOS (1905-1975) Interior signed in Greek, initialled and dated ‘950’ (upper right) gouache on paper 46 x 50 cm. Painted in 1950.

£3,000 - 5,000 €3,500 - 5,900

Exhibited Athens, K. Georgikopoulos residence, A. Condopoulos personal exhibition, 1951 (possibly).

Literature Alecos Condopoulos Retrospective Exhibition of Paintings, exhibition catalogue, A. Condopoulos Municipal Gallery, Lamia 1996, p. 21 (shown in a 1963 photograph with the artist in his studio). Alecos Condopoulos, exhibition catalogue, Municipal Library of Aghia Paraskevi - Alecos Condopoulos Museum, September 1999, p. 207 (shown with the artist). Artist and his wife at his studio with the presented work.

For details of the charges payable in addition to the final Hammer Price of each Lot 10 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 5AR THANOS TSINGOS (1914-1965) Red and pink flowers on green background signed and dated ‘TSINGOS/61’ (lower right) oil on canvas 81 x 116 cm. Painted in 1961.

£10,000 - 15,000 €12,000 - 18,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 11 6

6AR 7AR GEORGIOS A. ISAIAS (GREECE, 1873-1957) DIMITRIOS GALANIS (1880-1966) Anchored off a peaceful shore i. Baigneuse signed in Greek (lower right) signed ‘D.Galanis’ (lower right) oil on canvas pastel and chalk on paper 50 x 64 cm. 64 x 52 cm.

£3,000 - 5,000 ii. Reclining nude €3,500 - 5,900 signed ‘D.Galanis’ (lower right) pastel on paper 51 x 65 cm.

(2)

Painted in 1925.

£5,000 - 7,000 €5,900 - 8,200

For details of the charges payable in addition to the final Hammer Price of each Lot 12 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 7 ii.

Exhibited i. Athens, Athens Gallery Hilton, Pioneers of Modern Greek Art, December 1964, no. 7 (listed in the exhibition catalogue, p.8). ii. Lausanne, Paul Valloton Gallery, Exposition Gravures, Dessins, Aquarelles, D. Galanis, November 2-17, 1950, no. 32 (possibly). (Mavromatis p. 434)

Literature i. Zygos magazine, no. I-65, February 1965, p. 39 (illustrated). E. Mavrommatis, The Engraving and Painting of Dimitris Galanis 1879-1966 (doctoral dissertation), Athens 1983, p. 521 (listed). ii. E. Mavrommatis, The Engraving and Painting of Dimitris Galanis 1879-1966 (doctoral dissertation), Athens 1983, p. 521 (listed).

7 i.

THE GREEK SALE | 13 8 MICHALIS ECONOMOU (1888-1933) Resembling flames of dark green flaring from the earth against an On the way to Loutraki animated sky, Economou’s evocative cypresses echo one of Van signed ‘M.Economou’ (lower left) Gogh’s signature subjects1 (compare Road with cypresses, 1890, oil on flannel laid on canvas Kröller-Müller Museum, Otterlo.) The work dates after 1926, the year 60 x 50 cm. Economou returned to Greece from France, and was included in his Painted in 1927. 1927 personal exhibition in Athens. Reviewing the show, critic D. Kokkinos noted that the exhibits were “true works of poetry, but so £20,000 - 30,000 masterfully rendered that their significance as paintings prevailed.”2 As €23,000 - 35,000 noted by art historian A. Kouria, who prepared the artist’s monograph, critics of the time stressed the museum quality of these works and Exhibited urged art lovers to hasten and purchase them. In light of such critical Athens, Parnassos Gallery, Exhibition of Paintings by Mich. Economou, and popular acclaim, it’s no wonder that Economou’s works adorned November 17 - December 10, 1927, no. 26 or 42 (listed in the the collections of major early 20th century Greek collectors, such as C. exhibition catalogue). Loulis, G. Stringos and A. Benakis.3 Athens, Armos Gallery, Michalis Economou 1888-1933 Retrospective Exhibition, April 1961, no. 36, listed in the exhibition catalogue In this evocative rendition infused with an ethereal light and a hazy, (possibly). dreamlike atmosphere, nature becomes a landscape of the artist’s inner world, while reality is transformed into an image of subjective Literature truth. As noted by Kouria, “an ambivalent sense of presence/absence A. Kouria, Michalis Economou, Adam editions, Athens 2001, no. 114, suffuses these silent images, suspended between real time and pp. 107, 115 (mentioned), p. 245 (listed), p. 256 (catalogued), pp. 108, memory... In some paintings, the trees (pines and cypresses, lone or 163 (illustrated). in combination) seem to have lost their weight, becoming insubstantial and vulnerable, with slender, sinuous lines as trunks. ...A latent energy, a secret, surreptitious life force enlivens these paintings...In certain cases, the expressive thrust takes on a dramatic quality, which borders on expressionism with Northern European overtones, as in On the road to Loutraki.”4

1 Van Gogh was fascinated by cypresses as natural equivalents of architectural forms, “as beautiful in lines and proportions as an Egyptian obelisk.” 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 Kouria, p. 125. 4 Ibid, pp. 108-113, 115.

For details of the charges payable in addition to the final Hammer Price of each Lot 14 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 15 9AR GEORGIOS GOUNAROPOULOS (1889-1977) Reclining muse signed ‘Gounaro’ (lower right) oil on canvas 73.5 x 100.5 cm.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot 16 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OTHER PROPERTIES

10 STEFANOS LANZA (1861-1933) Parthenon signed in Greek and dated ‘1924’ (lower left) oil on canvas 41 x 62.5 cm.

£2,000 - 3,000 €2,300 - 3,500

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 17 11 THÉODORE JACQUES RALLI (1852-1909) Femme a son moucharabieh signed and dated ‘Ralli/79’ (lower left) oil on canvas 46.30 x 38.10 cm. Painted in 1879.

£15,000 - 25,000 €18,000 - 29,000

Provenance Christie’s, London, Old Master & 19th Century Paintings, 8 December 2010, lot 350. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 18 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 19 12

12 PÉRICLÈS PANTAZIS (1849-1884) Literature Vase with flowers and apples G. Drakopoulou, Pericles Pantazis in the Context of 19th Century signed ‘Pantazis’ (lower left) Belgian Painting (dissertation thesis), Athens 1982, p. 145 (listed), p. oil on canvas 115 (illustrated). 40.5 x 56 cm. Y. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present, Pierides Foundation, Thessaloniki 1992, p. 72 £4,000 - 6,000 (mentioned). €4,700 - 7,000 O. Mentzafou-Polyzou et al., Pericles Pantazis 1849-1884, Evangelos Averoff-Tositsas Foundation, Athens 1994, no. 184, p. 212 Provenance (catalogued), p. 52 (illustrated). Palais des Beaux-Arts, 25 October 1977, no. 395. Private collection, Brussels. Private collection, Athens.

For details of the charges payable in addition to the final Hammer Price of each Lot 20 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 13 NIKIFOROS LYTRAS (1832-1904) Young bather signed in Greek (lower right) oil on board 24 x 18 cm. Painted in 1877.

£8,000 - 12,000 €9,400 - 14,000

Literature N. Misirli, Nikiphoros Lytras, National Bank of Greece edition, Athens 2009, no. 49, p. 237 (catalogued), p. 116 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 21 14 VASILIOS CHATZIS (1870-1915) Exhibited Byzantine naval battle Athens, Art Association, Exhibition of Paintings by the Late Seascape signed in Greek (lower right) Painter V. Hatzis, March 1915 (possibly). oil on card 25 x 22.5 cm. “Two years ago, Vassilios Hatzis undertook to bring back to life an entire historical era, and since then has been engaged in the depiction £2,000 - 3,000 of the Byzantine fleet. Since there are no previous studies in this field €2,300 - 3,500 to assist him in his work, his historical research has been, and still is, rather painstaking.”1 Provenance Private collection, Athens. 1 Kallitechis magazine, no. 18, September 1911, p. 201.

For details of the charges payable in addition to the final Hammer Price of each Lot 22 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 15 GEORGIOS ROILOS (1867-1928) Marching in battle signed and Greek (lower right) oil on canvas 90 x 80 cm.

£8,000 - 12,000 €9,400 - 14,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 23 16 THEOFILOS HADJIMICHAEL (1871-1934) The Greek hero is portrayed full length and well in view, presented in The hero George Karaiskakis in battle with Kioutachi such a manner as to show his figure to the best advantage. Much like titled and inscribed in Greek (upper left and lower left) a Byzantine icon painter, Theofilos is aiming at an interpretation of the natural pigments on cardboard historic event adjusted to a preconceived scale of values.5 Gallantry 70.5 x 100.5 cm. is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and £70,000 - 100,000 folk tradition and reminiscent of the Karaghiozi shadow-puppets €82,000 - 120,000 or descriptions found in demotic songs. The linear arrangement of the warriors, the symmetry and rhythm of the composition and Provenance the impression of an immutable reality, take one even further back T. Eleftheriadis collection, Petra, Mytilene, Greece. (Zygos magazine, to Archaic Greek vase painting and the narrative arrangement of 1975) that precursor of folk poetry, the Homeric epics, where all parts— Private collection, Athens. sentences, ideas, episodes or figures—are placed one after the other like beads on a string.6 Exhibited Petra, Mytilene, T. Eleftheriadis House, T. Eleftheriadis Collection of The Greek heroes are identified as such not only by the blue and Paintings by Theofilos, 1961. white banner on the right or their characteristic fustanella kilts—the Mytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October same highland garb the painter himself wore when he left Smyrna 7-30, 1962, no. 16 (illustrated in the exhibition catalogue, p. 6). for Athens to voluntarily enlist in the 1897 campaign against Turkey Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 9 (listed in and which eventually became his signature attribute—but by purely the exhibition catalogue). pictorial means as well: they are more carefully modelled and shown considerably bigger than their opponents, reflecting Theofilos’s Literature insistence in taking full advantage of art’s liberating freedom that G. Samatouras, Twelve Folk Painters, Athens 1974, p. 88, fig. VII recognizes no limitations when it comes to scale or perspective.7 The (illustrated). wealth of detail, as in the background group of young pallikares fighting Zygos magazine, no. 13, March-April 1975, p. 79 (illustrated). over the ruins of the ancient theatre of Herodes Atticus and captured Anti magazine, vol. 2, no. 20, May 31, 1975 (mentioned). in a style reminiscent of the representational conventions used by T. Spiteris, “Works in the Collection of Takis Eleftheriadis - Petra, Dimitrios/Panayotis Zografos and Ioannis Makriyannis, is a vehicle of Mytilene”, handwritten list, c. 1960s (T. Spiteris Archive, Tellogleion Art initiation into the artist’s vision; a means of rendering more tangible to Institute), no 8 (listed and illustrated). the spectators’ imagination the world of gallantry and legend they are M.G. Moschou, Theofilos Hadjimichail Self-Biographed, doctoral invited to contemplate. dissertation, University of Athens, Athens 2005, vol. 1, p. 13 (mentioned). 1 See T. Eleftheriadis, “Theofilos, Chieftain and Guardian of Greek Painting’ in The Painter Theofilos in Mytilene [in Greek], exhibition An exceptional work by the ‘wandering magician of Greek history’1, catalogue, Mytilini 1962. this engaging canvas of pulsating energy, brilliant colour and keen 2 This inscription, as well as the title on the upper left, reflect the sense of heroic stature, shows the artist’s lifelong fascination with the painter’s desire to provide a full description of his subject by leaving 1821 Greek War of Independence, paying homage to a giant of the nothing obscure. On the contrary, everything is explained and uprising and a legend in his own time. clearly expressed and, therefore, all phenomena are thrust forward to the narrative surface where they receive even illumination in a Portrayed on horseback and followed by prominent chieftains (their flat, continuous present. The inclusion of written text, in addition to names fully mentioned in the lower left hand corner inscription),2 expressing a longing for knowledge following the Ottoman occupation, Georgios Karaiskakis, commander-in-chief of Greek forces in eastern denotes a unification of iconographic and linguistic symbols in a Greece, hounds the Turk Reshid Mehmed Pasha (known to the Greeks uniform and living Greek myth. See H. Kambouridis - G. Levounis, as Kiutahi) who had laid siege to the Acropolis of Athens in 1826. The Modern Greek Art, The 20th Century, Ministry of the Aegean, Athens Sacred Rock, epitomised by the Parthenon ruins shown on the upper 1999, p. 43. right, was of little strategic importance but it had a strong emotional 3 See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], and symbolic value for the Greeks and the philhellenic movement in Panayotis end Efi Michelis Foundation, Athens 1990, p. 203. Europe. 4 See E. Diamantopoulou, Theofilos in Mt. Pelion [in Greek], Alexandria editions, Athens 207, p. 75. The scene’s main protagonist is depicted at the centre of the 5 See A. Grabar, Byzantine Painting, Skira, Geneva 1979, pp. 36-37. composition, where the viewer’s eye is usually drawn, as is the case 6 See H. Kambouridis - G. Levounis, p. 43. with Byzantine painting, which lacking a vanishing point, allows the 7 See L. Papastathis, “Theofilos in Mt. Pelion” [in Greek], Lexi eye to freely wander and naturally focus on the middle of the painting.3 magazine, no. 172, November-December 2002, p. 945. 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 *Please note that due to Greek regulation, this lot cannot be exported which both Karaiskakis and his horse prepare to attack is expressed from Greece and will be available for viewing and inspection in Athens by the dynamic design and the vividness of colour.4 either by appointment or during the Athens Preview, 26-29 March 2020. This work will be located in Athens during the auction.

For details of the charges payable in addition to the final Hammer Price of each Lot 24 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 25 Property from an Important European Collection Lots 17 - 23

17 NIKOLAOS GYZIS (1842-1901) Oriental man with beard signed ‘N.Gysis’ (middle right) oil on panel 20 x 16.5 cm.

£5,000 - 7,000 €5,900 - 8,200

This delightful and psychologically acute portrait of a whimsical and spirited Oriental—probably the same bearded sitter who posed for the artist’s Oriental with pipe in the collection of the National Gallery in Athens—stands as a lucid demonstration of Gysis’s extraordinary painterly impulse. His limited but intense palette seems to burst out of the dark background—not only the signature Gysis red but also his mesmerising turquoise blue, which, as noted by N. Misirli, “conveys the impression that the painter dipped his gaze in the deep blue waters of the Aegean.”1 The vigorous brushwork, especially in the modelling of the headpiece, generates a sense of mobility, accentuating the picture’s close-up immediacy and compelling energy.

Gysis’s life-changing trip to the Orient in 1873 led to the development of a new personal style that retained elements of the Munich School teachings remoulded, however, through the eyes of a Greek. As argued by T. Tsatsos, “colour became as critical for Gysis’ design as light was for ancient Greek sculpture. It imbued his design with an instantaneous, fleeting, yet vibrant feel.”2

1 See N. Misirli, Gysis [in Greek], Adam editions, Athens 1995, p. 80. 2 T. Tsatsos, About Painting [in Greek], Estia publ., Athens 1970, p. 48.

For details of the charges payable in addition to the final Hammer Price of each Lot 26 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 27 A historic painting, which illustrated N. Engonopoulos’s surrealist poem "The journey begins Atlantikos when it was first published in the Angloelliniki Epitheorisi journal in 1954, Jason was exhibited in the 1954 Venice Biennale1 come along alongside surrealist works by such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte. There, for the first we embark time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter’s catalogue raisonné, “in to foreign lands" the 1946-1954 period, and probably throughout Engonopoulos’s career, his most important milestone was the representation of Greece at the Venice Biennale.”2 Prefacing the exhibition catalogue, Biennale’s Secretary General R. Palluchini noted: “Greece devotes its - N. Engonopoulos entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.” Atlantikos, 1954 This brilliant picture shows the ancient Greek hero Jason standing aboard his legendary Argo, which is registered here in the seaside town of Chalkis, wielding a trident in his left hand, while making a characteristic gesture with his right in an effort to discern something in the distance, perhaps the faraway land that stretches on the horizon. This painting was indeed a perfect choice to illustrate Atlantikos, AR 18 which, as noted by literary critic V. Chadjivassiliou, “seems to look NIKOS ENGONOPOULOS (1910-1985) outward, possibly towards an ontological and existentialist field, where Jason what’s primarily at stake is the non-negotiable struggle for freedom, signed in Greek and dated ‘51’ (lower right) which the poet invokes right from the opening verses: the ship sounds oil on canvas / the train whistles / from the turrets they give the signal / beware / the 45 x 34.5 cm. journey begins / come along / we embark / to foreign lands.”3 Painted in 1951. Alluding to a heroic past drawn from the treasury of Greek mythology, £25,000 - 35,000 Jason faithfully reflects the artist’s attitude towards painting as an ideal €29,000 - 41,000 vehicle to probe into the world of Greekness and reinterpret a rich tradition in a modern and vigorous manner. As noted by art historian N. Exhibited Loizidi, “Engonopoulos gave us a version of surrealism that’s universal, Athens, Zappeion Hall, 4th “Armos” Group exhibition, December 10, but at the same time deeply rooted in Greekness”.4 His persistence 1952 - January 10, 1953, no. 93 (listed in the exhibition catalogue, on indigenous cultural sources and experiences clearly indicates that p. 12). while European surrealists used an irrational vocabulary to break free Venice, XXVII Biennale, June 19 - October 17, 1954, no. 38, (listed in from the shackles of traditional conventions, Engonopoulos perceived the exhibition catalogue, p. 295). tradition as a connecting cultural link.5 His “Greekness” is not only achieved through iconographical choices but it is also shaped by the Literature values of ancient Greece and the principles of Byzantine painting and Angloelliniki Epitheorisi, vol. 6, no. 3, Winter 1953-1954, p. 206 folk art. As a result, the artist is credited with carrying on the tradition (illustrated). of Greek art from antiquity to the present.6 N. Engonopoulos, Atlantikos, 1954, p. 4 (illustrated). Nikos Engonopoulos, Painter and Poet, Epta Imeres, Kathimerini 1 Up until the mid-20th century the Venice Biennale was the only major weekly magazine, 25.5.1997, p. 30 (illustrated). artistic event worldwide. Especially for outlying countries like Greece, Nikos Engonopoulos, As Handsome as a Greek, Goulandris-Horn showing in Venice was extremely important on a national level and Foundation, Athens 2000 (illustrated on the cover). highly enviable on a personal one. K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, 2 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural Athens 2006, no. 35, pp. 82-84 (discussed), p. 85 (illustrated). [in Greek and French], exhibition catalogue and catalogue raisonée, N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, Benaki Museum, Athens 2007, p. 78. National Technical University of Athens, 2007, no. 66, p. 221 3 V. Chadjivassiliou, “From Bolivar (1944) to Atlantikos (1954): Surrealist (discussed and illustrated). Uprising and Defeat in the Poetic Mythology of Nikos Engonopoulos”, N. Engonopoulos, Love is the Only Way, National Book Centre of Lexi magazine, no. 179, January-March 2004, p. 81. Greece, Athens 2007, p. 8 (mentioned). 4 N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, Engonopoulos [in Greek], Nefeli publ. Athens 1984, p. 181. exhibition catalogue and catalogue raisonée, Benaki Museum, 5 See N. Loizidi, “The Indigenous Surrealism of Nikos Engonopoulos” Athens 2007, no. 397, p. 527 (mentioned), p. 270 (illustrated), p. 436 [in Greek], To Vima daily - Nees Epoches, 21.10.2007, p. A57. (illustrated). 6 See L. Tsikouta, “On Nikos Engonopoulos” [in Greek], Eikastika http://www.engonopoulos.gr/_homeEN/bio.html, 2017 (mentioned). magazine, no. 48, December 1985, p. 21.

For details of the charges payable in addition to the final Hammer Price of each Lot 28 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 29 19AR VASSILIS GERMENIS (1896-1966) Sailing signed in Greek (lower right) oil on canvas 53 x 73 cm.

£4,000 - 6,000 €4,700 - 7,000

For details of the charges payable in addition to the final Hammer Price of each Lot 30 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 20AR YIANNIS SPYROPOULOS (1912-1990) Harbor, Hydra signed in Greek (lower left) oil on canvas laid on board 38 x 47 cm. Painted in 1949.

£6,000 - 8,000 €7,000 - 9,400

Literature Yiannis Papaioannou, Yiannis Spyropoulos – Monography, Y&Z- Spyropoulos Foundation, Athens 2010, cat. No 88, p. 81 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 31 21AR GEORGIOS BOUZIANIS (1885-1959) This stunning portrait from the artist’s Paris output (1929-1932)1 Portrait of young man (self-portrait) formerly in the collection of German sculptor Alexander Fischer,2 with signed, inscribed and dated ‘Jo Busianis/Paris/931/’ (lower right); whom Bouzianis co-exhibited at the Chemnitz Kunsthütte in May signed and inscribed ‘Manes Bild’ on the pass-par-tout 1927, demonstrates some of the key signature traits—swift rendering watercolour and pencil on paper of the subject, fluidity of line and pulsating spread of colour—that 63 x 48 cm. bestowed Bouzianis’s noteworthy reputation among the European avant-garde in the 1920s. Reviewing the artist’s 1928 exhibition £8,000 - 12,000 at Barchfeld’s in Leipzig, Dr. H. Hofmann argued that Bouzianis’s €9,400 - 14,000 watercolours confirm his status as one of the greatest artists of his time.3 Provenance Heinrich Barchfeld collection, Leipzig. 1 Professor D. Deliyannis, who prepared the artist’s monograph, uses Alexander Fischer collection, Munich. this portrait to illustrate his point that “during his Paris years, Bouzianis Private collection. focused on diligently rendering the world of appearances—landscapes and faces—and on adapting to the requirements of the watercolour Exhibited medium without lessening its dynamic quality.” D. Deliyannis, Athens, National Gallery - Alexandros Soutzos Museum, Athens preface to Yorgos Bousianis, exhibition catalogue, National Gallery - Cultural Capital of Europe, Yorgos Bousianis, October 21 - December Alexandros Soutzos Museum, Athens 1985, pp. 47, 57. 8, 1985, no. 34 (discussed, p. 47, and illustrated in the exhibition 2 Alexander Fischer (1903-1981), who held Bouzianis in great catalogue). admiration and respect, had in his possession a significant number Athens, Municipal Gallery, Hommage Bouzianis, 1990 (illustrated in the of his works, of which he owned one or two and the rest (7 oils, 32 exhibition catalogue, p. 38). watercolours and 30 drawings) he held in trust, since WWII, on behalf of gallery owner in Leipzig and Bouzianis’s lifetime supporter and soul Literature mate Heinrich Barchfeld. After Fischer’s passing in 1981, his inheritors Bouzianis Watercolours, Agra editions - The Friends of Bouzianis’, sold almost all works to Greek collectors who brought most of them Athens 1982, p. 86 (listed), p. 42 (illustrated). to Greece. Part of the Fischer collection was shown in the Bouzianis D. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1985 retrospective at the National Gallery in Athens. See George 1996, no. 314, p. 296 (catalogued), p. 97 (illustrated). Bouzianis, Letters to H. Barchfeld [in Greek], National Bank of Greece Cultural Foundation, Athens 1989, pp. 44, 305. 3 H. Hofmann, Leipziger Abendost daily, 6. 9.1928.

For details of the charges payable in addition to the final Hammer Price of each Lot 32 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 33 22AR VASSILIS SPERANTZAS (BORN 1938) Queen and Jack signed in Greek (upper right) oil on canvas 60 x 120 cm.

£4,000 - 6,000 €4,700 - 7,000

For details of the charges payable in addition to the final Hammer Price of each Lot 34 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 23AR ALECOS FASSIANOS (BORN 1935) Red figure signed ‘A.Fassianos’ (upper right) acrylic on paper laid on canvas 102.5 x 50 cm.

£7,000 - 9,000 €8,200 - 11,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 35 OTHER PROPERTIES

"This painting will be a treasure to whoever secures it." -Liverpool Mercury, 1876

24 THÉODORE JACQUES RALLI (1852-1909) Following its showing in the 1876 Salon des Artistes Vivants, the 1876 Soubrette arrosant des fleurs Liverpool Autumn Exhibition and the 1878 Paris Exposition Universelle, signed and dated ‘T.Ralli/1876’ (lower left); Soubrette arrosant des fleurs met with extensive critical acclaim: inscribed with the artist’s address on the stretcher oil on canvas “A young girl holding a pitcher is watering, inside a room, flowering 55.5 x 46.5 cm. plant pots. But here is how successfully Mr. Ralli has captured this most common of ideas. In the middle of an opulent room, a beautifully £25,000 - 35,000 coloured and elaborately dressed young girl, wearing the clothes of €29,000 - 41,000 a lady’s maid of the previous century, holds out with her right hand an alabaster vessel towards a plant pot, while with her left hand she Provenance slightly raises her dress and her apron, in order for them not to be Estate of the artist and by descent to the present owner. splashed by the water being poured. The slant of the young girl’s body is very graceful, as she concentrates on her task and stretches her Exhibited blonde head towards the flowers showing three quarters of her face, Paris, Palais des Champs-Élysées, Salon, Exposition des Artistes while leaning her body to the right, to stand away from the falling water. Vivants, 1876, no. 1705. Her dress leaves her tender arms bare to the elbows and her neck Liverpool, Autumn Exhibition of Modern Pictures, Corporation of almost to the chest; and, as it is lifted slightly from below, it reveals her Liverpool, 1876. tiny and elegantly shod feet. The light falling sideways colours her rosy Manchester, Royal Manchester Institution, Annual Exhibition of the cheeks and the light green bodice, which fits tightly around her chest Royal Manchester Institution, no. 45. and arms. The plant pots of various shapes and older times, standing Paris, Palais de Champ de Mars, Exposition Universelle Internationale, on the floor and on tripods, contain plants blossoming with pink and 1878. yellow flowers, their broad or narrow verdant leaves spreading out all over. Behind her, at the back of the room, hanging Gobelin tapestries Literature portray battle scenes...Not only once or even twice were we happy The Theodore Ralli Archive (illustrated). to see this young girl watering flowers, who, resembling them in Undated newspaper clip, Th. Ralli archive (discussed). tenderness and being with them, is reminiscent of the lovely season Liverpool Mercury newspaper, October 4, 1876. of spring. Juxtaposing Mr. Ralli’s present-day painting to last year’s, T. Véron, Dictionnaire Véron ou Mémorial de L’Art et des Artistes de we can tell him that, if he is to progress in a similar way each year, he Mon Temps. Le Salon de 1877, Poitiers 1877, p. 360 (discussed). will soon be vying for an award. Because when one has such facility L. Énault, Les Beaux-Arts à Exposition Universelle de 1878, E. Gros, in drawing, when one knows how to match colours so successfully Paris, 1878, p. 100 (discussed). to generate the feeling which the blonde maiden generates amid the T. Véron, Dictionnaire Véron ou Mémorial de L’Art et des Artistes de green flowers, and when, lastly, one expresses ideas which have so Mon Temps. Le Salon de 1878 et L’Exposition Universelle, vol. II, Paris much in common with aesthetic quality, then how can one not be and Poitiers 1878, p. 788 (discussed). justified to hope that not long after he will distinguish himself among D. de Pesquidoux, L’Art dans les Deux Mondes. Peinture et Sculpture those exhibiting at shows?” Unidentified clipping in the Theodore (1878), vol. I : L’Art au XIXe Siècle, Plon, Paris, 1881, p. 567 Ralli Archive. See also M. Katsanaki, Theodore Ralli, A.G. Leventis (discussed). Foundation - A.G. Leventis Gallery, Athens 2018, p. 61. É. Cambanis, Théodore Rallis, maîtrise, Université de Paris X - Nanterre, 1984, p. 158. “This is painting with care, knowledge and true industry. It will be Dictionary of Greek Artists, Melissa editions, vol. 4, Athens 2000, p. 85 a treasure to whoever secures it.” Liverpool Mercury newspaper, (mentioned). October 4, 1876. Paris-Athens 1863-1940, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2006, pp. 199-200 (listed). “She is sweet and truly poetic, this charming soubrette; her pose has M. Palioura, The Painting Oeuvre of Theodoros Ralli (1852-1909), vigour, élan and a truly seductive grace.” T. Véron, Dictionnaire Véron doctoral dissertation, University of Athens, Athens 2008, vol. I, p. 27 ou Mémorial de L’Art et des Artistes de Mon Temps. Le Salon de 1878 (mentioned), vol. II, fig. 5 (illustrated). et L’Exposition Universelle, vol. II, Paris and Poitiers 1878, p. 788. M. Katsanaki, Theodore Ralli, A.G. Leventis Foundation - A.G. Leventis Gallery, Athens 2018, pp. 60-62 (discussed), p. 60 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 36 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 37 i.

ii.

25 VIEW OF ANCIENT TEMPLES, A PAIR

SPYRIDON SCARVELLI (1868-1942) i. The temple of Olympian Zeus signed 'Scarvelli' (lower left) watercolour on paper 46 x 67.5 cm.

VIKENTIOS LANZA (1822-1902) ii. Parthenon view signed 'Lanza' (lower right) watercolour on paper 34 x 53 cm.

(2)

£3,000 - 5,000 €3,500 - 5,900

For details of the charges payable in addition to the final Hammer Price of each Lot 38 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 26

27

26 27 ODYSSEAS FOKAS (1857-1946) CONTINENTAL SCHOOL, 19TH CENTURY View of the Erectheion Young Balkan soldier signed in Greek (lower right) oil on canvas pastel on paper 101 x 75 cm. 72 x 48.5 cm. £2,000 - 3,000 £2,000 - 3,000 €2,300 - 3,500 €2,300 - 3,500 Provenance Exhibited Millon, Paris, 7 June 2010, lot 288. New York, Greek Pavilion (from a label on the reverse), unknown date. Private collection, Brussels.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 39 28* MICHALIS ECONOMOU (1888-1933) Fishing boat at sunset prioritizes atmosphere and lyrical feeling above Fishing boat at sunset realistic depiction. Introduced by the water reflections that lead the eye signed ‘M.Economou’ (lower left) from the foreground to the middleground, the poetic mood permeates oil on board the entire seascape, turning it into an expressive field that records the 54.2 x 65.5 cm. artist’s emotional and intellectual response to the natural environment. The juxtaposition of soft and heavily worked forms bathed in diffused £12,000 - 18,000 light creates an ambivalent sense of presence/absence in a poetic €14,000 - 21,000 ‘timescape’ where human presence is suggested rather than actually depicted.2 Note how the fisherman is so integrated in the poetic Provenance atmosphere that he dissolves into his natural surroundings, partaking The Antonopoulos collection, Patras and Athens. in the ethereal vagueness and lyrical uncertainty of space. Thence by descent to the present owner’s private collection, Canada and United States. Moreover, the depiction of the sun, a motif often found in folk Greek art but rarely encountered in Modern Greek and European painting, We are grateful to Mrs Afroditi Kouria for her assistance in endows the atmosphere with transient gleams of light and golden authenticating this lot. luminosities, accentuating the romantic feeling. In 1927, D. Kokkinos noted that the works by Economou were true works of poetry, but so Handled with loosely painted, abbreviated curvilinear forms and masterfully rendered that their significance as paintings prevailed. stripped of superfluous descriptive detail, Economou’s peacefully floating boat1 is transformed into a highly evocative image that feels 1 For a discussion of the boat motif in Economou’s work, see A. Kouria, more like a distant recollection than an actual sensory experience. Michalis Economou, Fifty Years from his Death [in Greek], Zygos magazine, no. 56, November-December 1982, p. 15. 2 Kouria, Michalis Economou [in Greek], Adam editions, Athens 2001, pp. 106-116.

For details of the charges payable in addition to the final Hammer Price of each Lot 40 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 41 29 CONSTANTINOS MALEAS (1879-1928) Literature Luxor Eleftheron Vima daily, April 8, 1928, pp. 1-2 (possible mention). signed in Greek (lower right) Z. Papantoniou, Kritika (Critical Reviews), Estia editions, Athens 1966, oil on cardboard p. 117 (possible mention). 48.5 x 54.5 cm. The Greek Painters, vol. II, 20th Century, Melissa editions, Athens Painted in 1923. 1975, no. 33, p. 68 (illustrated). C. Christou, Greek Painting 1832-1922, National Bank of Greece £18,000 - 22,000 edition, Athens 1981, p. 159 (listed). €21,000 - 26,000 A. Kotidis, The Painter C. Maleas (1879-1928), doctoral dissertation, Thessaloniki 1982, no. 181, p. 149 (mentioned), p. 276 (catalogued), Provenance fig. 6.31 (illustrated). D.Staikos collection, Athens. A. Kotidis, Constantinos Maleas (1879-1928), Adam editions, Athens D. Logothetis collection, Athens. 2000, p. 201 (mentioned), p. 345 (catalogued). Private collection, Athens. Constantinos Maleas, Ta Nea editions, Athens 2009, pp. 36-37, 139 Christie’s, Athens, Greek sale, 24 May 2000, lot 92. (illustrated). Private collection, Athens.

Exhibited Based on the artist’s monograph (A. Kotidis, Constantinos Maleas 1879- 1928, Adam editions, Athens 2000, pp. 344-345), the painting was included in the following exhibitions: Athens, Zappeion Hall, Exhibition of Paintings by C. Maleas, December 1924. Athens, Stratigopoulou Gallery, Group Exhibition, November 1925. Munich, Galerie Paulus, Exhibition of Paintings by C. Maleas, May 1927. Athens, Zappeion Hall, C. Maleas Retrospective Exhibition, December 1928. Athens, Studio, C. Maleas Retrospective Exhibition, February 1-28, 1935. Volos (possibly), C. Maleas Retrospective Exhibition, 1936 (possibly). Athens, Parnassos Hall, C. Maleas Retrospective Exhibition, November 24 - December 14, 1938.

For details of the charges payable in addition to the final Hammer Price of each Lot 42 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 43 Property of a distinguished International Collection Lots 30 - 48

"Whether I paint men or flowers, I must reveal the divine spirit that lies within them" - Yannis Tsarouchis

30AR YIANNIS TSAROUCHIS (1910-1989) As noted by art critic A. Schina, “Tsarouchis was not really interested Clay vase with flowers in the descriptive rendering of luxuriant floral arrangements. His flowers signed in Greek and dated ‘66’ (lower right) are not meant to be flamboyant and decorative. On the contrary, they oil on canvas reflect everyday reality, alluding, with their different colours, fragrances, 85 x 70 cm. textures and sense of freshness, to warm human bodies and friendly gazes, while conveying something from the period’s zeitgeist.”1 £40,000 - 60,000 €47,000 - 70,000 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 Clay vase with flowers is a splendid and truly irresistible still life of backgrounds painted in neutral colours. The latter effectively highlight highly silhouetted leaves, stems and petals painted in a serene and the details of the main theme, in this case the shining part of the clay joyous spirit with a remarkable radiance of iridescent and sensitive pot or the fine contours of the irises. Once again, there is an underlying colours. This display of enthrallment with colour is akin to the pictorial feel of Greek popular iconography in the characteristically stylised world of folk art and reminiscent of the powerful immediacy and arrangement of the leaves and flowers and in the use of the azure and disarming sincerity of Theofilos’s paintings. The whole picture is terracotta tones.”3 enchantingly beautiful, speaking to us in a lyrical idiom of quietude, contentment and the joie de vivre. 1 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.

For details of the charges payable in addition to the final Hammer Price of each Lot 44 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 45 31

31AR 32AR THANOS TSINGOS (1914-1965) NIKOS HADJIKYRIAKOS-GHIKA (1906-1994) Fleurs sur fond blanc Plants signed and dated ‘Tsingos/57’ (upper right) signed and dated ‘Ghika/65’ (lower right) oil on canvas pastel and watercolour on paper laid on canvas 53 x 64 cm. 30.5 x 23.5 cm. Painted in 1965. £8,000 - 12,000 €9,400 - 14,000 £12,000 - 18,000 €14,000 - 21,000 Exhibited Eleusis, Leonidas Kanellopoulos Cultural Centre, Thanos Tsingos, July- August 2005, no. 34 (illustrated in the exhibition catalogue, p. 61).

Literature O Kosmos tou Ependyti newspaper, August 6, 2005, fine arts section, p. 18 (illustrated). K magazine (Kathimerini), p. 95 (illustrated). Contemporary Greek Art Institute, http://dp.iset.gr, Thanos Tsingos / Artworks, Athens 2010-2016, p. 1 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 46 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 32

THE GREEK SALE | 47 33

33AR 34AR DIMITRIOS GALANIS (1880-1966) YIANNIS TSAROUCHIS (1910-1989) Ma maison The engagement signed ‘D.Galanis’ (lower right) signed in Greek (upper right) oil on canvas oil on canvas 45 x 55 cm. 34.3 x 25 cm. Painted after 1912. Painted in 1945.

£10,000 - 15,000 £12,000 - 18,000 €12,000 - 18,000 €14,000 - 21,000

Provenance Literature N. Bonikos collection, Athens. (Mavromatis p. 456) E. Florou, Yannis Tsarouchis, his Painting and his Era, Nea Synora - A. A. Private collection, Athens. Livanis editions, Athens 1989, no. 321, p. 265 (listed). Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Exhibited Athens 1990, no. 164 (illustrated). Markopoulo, Municipal Cultural Centre, Dimitris Galanis and his Era, December 2001, no. 18 (illustrated in the exhibition catalogue, p. 35). Captured with compelling realism, a typical 1940-50s working-class Greek couple is stripped of any kind of beautification and pretentiousness Literature to convey in their blunt gaze, ungainly posture and psychological E. Mavrommatis, The Engraving and Painting of Dimitris Galanis 1879- estrangement a strong sense of real people in a real world. 1966 (doctoral dissertation), Athens 1983, pp. 544-455 (listed).

For details of the charges payable in addition to the final Hammer Price of each Lot 48 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 34

Archaising simplification, shallow compositional structure, bold Light and dark contrasts, which place the subject into crammed space outlines, vigorous brushwork and broad planes of dynamic colour and limited time, must be eliminated. We are reminded of the fauves, build up a solid edifice of pure form liberated from the fleeting moment, of Matisse. Tsarouchis learned from them but used their teachings perfectly matching the sitters’ silent inflexibility and rigid stylisation. in a very personal manner to produce works that are truly Greek in We are reminded of Byzantine icon painting and traditional shadow essence. And what’s more without resorting to extravisual references puppet theatre, which exerted a strong influence on Tsarouchis’s work but with detached sobriety. The objects in Tsarouchis’s works are throughout his career. studio objects: a chair, a mirror, a vase with paper flowers or a simple screen. Everyday objects that don’t even claim to signify the depth In a highly perceptive 1937 article that also constituted the first of daily life or mundane existence. A kind of decoration inspired by comprehensive review of Tsarouchis’s work, critic D. Kapetanakis nothing more than the backdrops used by itinerant photographers.”1 noted that “broad areas of pure colour occupy a space that ensures their long-lasting harmony. Anything transient must be pushed aside to 1 D. Kapetanakis, “Yiannis Tsarouchis, Return to Roots”, Nea celebrate the purely pictorial realisation of a symbol’s everlasting value. Grammata magazine, 1937 as reprinted in Tsarouchis [in Greek], Zygos, Athens 1978, pp. 7-8.

THE GREEK SALE | 49 35AR YIANNIS MORALIS (1916-2009) Literature Composition Zygos magazine, no. 80, July 1962, p. 25, no. 61 (illustrated). signed in Greek and dated ‘1960’ (lower left) Architectoniki magazine, no. 42, November-December 1963, p. 8 acrylic on hardboard (mentioned), p. 11, no.16 (illustrated). 100 x 366 cm. Architectoniki magazine, no. 46, July-August 1964, p. 44 (illustrated). The Greek Painters, vol. II, 20th Century, Melissa editions, Athens £280,000 - 350,000 1975, p. 383 (mentioned). €330,000 - 410,000 Yannis Moralis, Functional Art, Polyplano editions, Athens 1976, p. 29 (illustrated). Exhibited Sima magazine, no. 22, no. 5, March 1979, p. 40 (illustrated). Athens, Benaki Museum, Yannis Moralis, Architectural Compositions, Yannis Moralis, Commercial Bank of Greece Group of Companies February 10 - April 30, 2011 (illustrated in the exhibition catalogue, edition, Athens 1988, no. 782, p. 476 (mentioned), p. 496 (illustrated). pp. 52-53). C. Christou, Moralis, Adam editions, Athens 1993, p. 254 (mentioned). Yannis Moralis, Epta Imeres, Kathimerini weekly magazine, April 10, 1994, p. 5 (mentioned). Y. Bolis, Yannis Moralis, K. Adam editions, Athens 2005, p. 168 (mentioned). Y. Bolis, Yannis Moralis, Contemporary Greek Painters, Ta Nea editions, Athens 2007, p. 139 (mentioned). Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, p. 218 (mentioned). A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 2011, pp. 209, 245 (mentioned). Gr Design magazine, September 2018, p. 12 (mentioned).

50 | BONHAMS A monumental Moralis, Composition 1, 2 is one of the most beautiful Elaborating on the relationship of painting and architecture in Moralis’ and imposing paintings by the artist ever to appear on the auction work from the 1960s, art critic A. Xydis notes: “For a long time I have market. Epic in scale and magnificent in its simple grandeur, this believed that the qualities of Moralis’s art were particularly appropriate striking work echoes the timeless values of ancient Greek art. to the full expression of a work of architecture. His strength in and love of composition, his sensitive and balanced colour harmonies, Disciplined line and pure form, reminiscent of architectural fragments the diligence of his technique, and the clarity and monumentality in from an ancient Greek temple or a neoclassical Athenian mansion, the organization of planes and volumes, make up a combination of set up a perfectly balanced geometric edifice from which engaging qualities much sought after by architects. They are even related to floral motifs emerge playfully against luminous patches of blue colour those that belong to a good architect, whose artistic temperament indicative of clear skies. The well thought out compositional scheme, must at every moment be subjected to the control of reason.”5 the shallow depth, suggestive of sculptural relief, and the overall serene rhythm, dictated by the classical sense for human scale, compose an 1 Composition adorned the Xenia hotel in Florina, designed in 1960 evocative world of poetic images that revives the archetypal universe of by architect G. Nikoletopoulos in the vein of the legendary modernist an Ionian frieze. Aris Konstantinidis. As noted by art critic A. Xydis, “since 1959, Moralis produced a series of epoch-making works that paved the Pointing out Moralis’s ideological kinship with his classical models, way to a wider use of artists by architects, who realised that they had M. Lambraki-Plaka, Director of the Athens National Gallery, notes: only to gain from such a collaboration. In his first such works [as is “Verticals, horizontals, diagonals and curves compose a harmonious the case with the Florina Xenia], Moralis did not depart far from the whole full of intensity, hidden under apparent tranquillity.”3 As Nobel easel painting techniques he had been using at the time, the more so laureate O. Elytis once said of Moralis, “by using a limited vocabulary as these works were intended for interior spaces. He worked either of form, Moralis has succeeded—in a manner unprecedented in Greek in situ or in his studio.” A. Xydis, “Auspicious Collaboration of Art art—to transform the language of the natural world into a purely optical and Architecture, the Work of Yannis Moralis 1959-1963” [in Greek], phenomenon. Memories and encounters are repeatedly distilled until Architectoniki journal, no. 42, November-December 1963, p. 8. they blend into forms of great simplicity and precision.”4 2 As noted by the artist himself, Composition was painted in the studio of artist Natalia Mela. See Yannis Moralis, Architectural Compositions [in Greek], exhibition catalogue, Benaki Museum, Athens 2011, p. 53. 3 M. Lambraki-Plaka, “Classic and Human-centred” [in Greek], Kathimerini daily, Epta Imeres, 10.4.1994, p. 11 4 O. Elytis, preface to the Moralis exhibition catalogue, Iolas- Zoumboulakis Gallery, Athens 1972. 5 Xydis, p. 8. 36AR ALECOS FASSIANOS (BORN 1935) Celui qui vient signed ‘A.Fassianos’ (upper center) oil on canvas 196 x 127 cm. Painted in 1977.

£40,000 - 60,000 €47,000 - 70,000

Literature L. Aragon, H. Vacalo, Fassianos, Kedros editions, Athens 1980, p. 103 (listed), p. 8 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 52 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 53 37

37AR 38AR ALECOS FASSIANOS (BORN 1935) YIANNIS SPYROPOULOS (1912-1990) The lamp Tassis B signed in Greek (upper left); titled and dated ‘78’ (upper right) signed in Greek (lower left); signed, titled and dated ‘JANNIS oil on canvas SPYROPOULOS TASSIS B 1969’ (on the stretcher) 60 x 60 cm. oil on canvas Painted in 1978. 116 x 89 cm.

£10,000 - 15,000 £20,000 - 30,000 €12,000 - 18,000 €23,000 - 35,000

Provenance Provenance Sotheby’s, London, Greek sale, 10 May 2007, lot 64. Olga N. Sheldon collection (until 1973). Acquired from the above sale by the present owner. Sheldon Memorial Art Gallery, The Nebraska Art Association permanent collection. Private collection.

For details of the charges payable in addition to the final Hammer Price of each Lot 54 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 38

Exhibited Literature Washington D.C., National Collection of Fine Arts, Smithsonian Y. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral Institution / Lincoln, Nebraska, University of Nebraska, Sheldon dissertation, Athens 1994, no. 1040, pp. 191, 198 (mentioned), p. 303 Memorial Art Gallery, Jannis Spyropoulos Recent Paintings, September (listed). 19 - October 19, 1969 / November 11 - December 7, 1969 (possibly, Y. Papaioannou, Yannis Spyropoulos – Monograph, Yannis and Zoe based on label on the reverse). Spyropoulos Foundation, Athens 2010, pp. 292, 312 (mentioned). Contemporary Greek Art Institute, http://dp.iset.gr, Jannis Spyropoulos / Artworks, Athens 2012-2016, p. 5 (illustrated).

THE GREEK SALE | 55 39AR NIKOS HADJIKYRIAKOS-GHIKA (1906-1994) In the 1960s and 1970s, the Greek landscape became a key subject After the rain in Ghika’s work, reflecting his resolve to unravel its secrets and express signed and dated ‘Ghika/1974’ (lower left) “the most arcane nuances of the mystery of natural phenomena.”4 gouache and mixed media on paper laid on canvas Here, by exploring the dynamic qualities of light and atmosphere 39 x 50 cm. in a rainy day, he translated the fleeting weather phenomena into a sophisticated vocabulary of form. However, Ghika was not only £40,000 - 60,000 interested in the landscape’s elusiveness and constant movement but €47,000 - 70,000 also sought to capture its everlasting geological structure,5 to convey both the reality of the changing atmospheric effects and the reality of Exhibited the rocky terrain, which stands forever, weathering the next storm as it Athens, Iolas-Zoumboulakis Gallery, December 10, 1976 - January 15, has weathered millions before. 1977. Nicosia, Cyprus, A.G. Leventis Gallery, Ghika - Craxton- Leigh Fermor, 1 As inscribed on the verso, the landscape is a view of Kardamyli, Charmed Lives in Greece, February 24 - May 22, 2017. Mani in the Southern Peloponesse, where Ghika’s lifelong friends London, British Museum, Ghika - Craxton- Leigh Fermor, Charmed Partick and Joan Leigh Fermor had built a country house in the 1960s. Lives in Greece, March 8 - July 15, 2018. “Kardamyli was an ingredient of their friendship, Ghika bringing with him his artist’s equipment and sketching in the surroundings of the Literature house.” M. Llewellyn-Smith, “Kardamyli: the Perfect Refuge” in Ghika - K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Craxton- Leigh Fermor, Charmed Lives in Greece, exhibition catalogue, Museum, Athens 2011, no. 431, p. 306 (illustrated). Benaki Museum, Athens 2017, p. 96. E. Arapoglou, I. Collins, M. Llewellyn-Smith, I. Moraiti, Ghika - Craxton- 2 N.G. Pentzikis in N. Hadjikyriakos Ghika [in Greek], exhibition Leigh Fermor, Charmed Lives in Greece, A.G. Leventis Gallery edition, catalogue, Irmos gallery, Thessaloniki 1994. Nicosia 2017, no. 65, p. 101 (illustrated). 3 Transcribed excerpts from the ‘Monogramma’ television documentary, ERT-2, 1984 in Nikos Hadjikyriakos-Ghika, Tegopoulos A vibrant landscape1 of undulating rhythm and interwoven lines and publ., 2009, p. 150. forms where trees, leaves, bushes, rocks and thorns are engaged 4 Nikos Hadjikyriakos-Ghika, From the East [in Greek], Athens 1989, p. in a delicate dance, After the rain aptly illustrates Ghika’s mystical 43. connection to nature. Captured in slanted lines, angular shapes, 5 See K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre [in twisted diagonals and tangled verticals, the natural environment seems Greek], Benaki Museum, Athens 2011, p. 238. constantly expanding and contracting, while the crooked stone walls that inform so much of the Greek landscape emerge like ancient ruins from the damp earth. As noted by painter and writer N.G. Pentzikis, “Ghika’s schemata are rife with distant memories of leaves, shoots, plant anatomy and fibres and flowers. By effectively organising many forms and shapes, he manages to create new ones.”2 The artist himself once said: “I want the viewers to feel the sounds emanating from the orchestration of different forms, different shapes and different lines. In other words, I want the viewer to feel the knife used to carve out nature.”3

For details of the charges payable in addition to the final Hammer Price of each Lot 56 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 57 40AR PAVLOS (PAVLOS DIONYSSOPOULOS) (1930-2019) Cravattes signed and dated ‘Pavlos/2006’ (lower right); signed and dated ‘Pavlos/2006/ PAVLOS’ (on the reverse) paper construction on wood, plexiglass 131.5 x 91 x 6.5 cm.

£15,000 - 20,000 €18,000 - 23,000

For details of the charges payable in addition to the final Hammer Price of each Lot 58 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 41AR PAVLOS (PAVLOS DIONYSSOPOULOS) (1930-2019) Vestiaire signed and dated ‘Pavlos/1972/PAVLOS’ (on the reverse) paper construction on wood, plexiglass 124 x 43 x 4.5 cm.

£25,000 - 35,000 €29,000 - 41,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 59 42AR ALECOS FASSIANOS (BORN 1935) Les collines de Kessariani signed and dated ‘A.Fassianos 69’ (lower right), signed ‘Fassianos’ (middle left); also signed, dated and titled (on the reverse) oil on canvas 162 x 130 cm.

£35,000 - 45,000 €41,000 - 53,000

Provenance Paul Facchetti gallery, Paris. Private collection, Athens.

Exhibited Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 32-33).

For details of the charges payable in addition to the final Hammer Price of each Lot 60 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 61 43AR YANNIS GAÏTIS (1923-1984) Angels signed ‘Gaitis’ (lower right) oil on canvas 116 x 88.5 cm.

£20,000 - 30,000 €23,000 - 35,000

Provenance Sotheby’s, London, The Greek sale, 11 November 2008, lot 196. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 62 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 44AR ALEXIS AKRITHAKIS (1939-1994) Untitled signed and dated ‘Akrithakis 90’ (on the reverse) acrylic on panel 155 x 103 cm.

£25,000 - 35,000 €29,000 - 41,000

Exhibited Patras, Epikentro Gallery, 1990.

Literature Arti magazine, vol. 4, March-April 1991, p. 97 (illustrated). Dictionary of Greek Artists, Melissa editions, vol. 4, Athens 2000, p. 28 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 63 45

64 | BONHAMS 46

45AR 46AR COSTAS TSOCLIS (BORN 1930) YIANNIS SPYROPOULOS (1912-1990) Rocks Logos, no. 6 signed ‘C.Tsoclis’ (lower right) signed in Greek (lower right); dated 1963 (on the stretcher) acrylic and stones on panel oil and mixed media on canvas 143 x 119 x 15 cm. 97 x 130 cm. Executed in 1999. £25,000 - 35,000 £15,000 - 20,000 €29,000 - 41,000 €18,000 - 23,000 Literature Provenance Y. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral Sotheby’s, London, Greek Sale, 10 May 2004, lot 68. dissertation, Athens 1994, no. 789, p. 182 (mentioned), p. 293 (listed). Acquired from the above sale by the present owner. Y. Papaioannou, Yannis Spyropoulos – Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, p. 268 (mentioned). Literature B. Corà, C. Tsoclis, K. Adam editions, Athens 2005, p. 104 (illustrated). B. Corà, C. Tsoclis, Ta Nea editions, Athens 2007, p. 78 (illustrated). C. Tsoclis, No Time to Go Complain to God, Kastaniotis editions, Athens 2009, p. 76 (illustrated). E. Tsaldiri, Costas Tsoclis and the Weird Mess, A.A. Livanis editions, Athens 2011, p. 45 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 65 47AR ALECOS FASSIANOS (BORN 1935) Awaiting the lover signed and titled in Greek (upper left) acrylic on canvas 84.5 x 122 cm. Painted in 1980.

£18,000 - 25,000 €21,000 - 29,000

Exhibited Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (catalogued, p. 78, and illustrated in the exhibition catalogue, pp. 15, 76-77). 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. 76-77).

For details of the charges payable in addition to the final Hammer Price of each Lot 66 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 48AR ALECOS FASSIANOS (BORN 1935) Blue smoker signed and dated ‘A.Fassianos 67’ (upper right) oil on canvas 130 x 150 cm.

£20,000 - 30,000 €23,000 - 35,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 67 OTHER PROPERTIES

49AR YIANNIS MORALIS (1916-2009) By sacrificing superfluous descriptive detail, rejecting the illusion of space, Nudes avoiding tonal gradations and emphasizing only the essential structural signed in Greek and dated ‘56’ (lower left); elements, Moralis expresses what is permanent and universal. “Dedicated signed, inscribed and dated (on the reverse) to the human figure, particularly the female one, Moralis has given us oil on cardboard some of the most significant and intrinsic aspects of 20th c. art—not only 70 x 50.5 cm. of Greek but of world art. Above all else his paintings are at once erotic, profoundly sentimental and poetic. In them one may trace a progress £50,000 - 70,000 from earthly to heavenly love, from the sensual aspects of the subject to €59,000 - 82,000 the universal and eternal, to the metaphysical and the transcendental.”5 As N. Hadjikyriakos-Ghika once noted, “Moralis’s youthful females, closely Provenance attuned to the idealism of ancient Greek art, are lovable forms endowed Acquired directly from the artist by the family of the present owner. with grace and tenderness, created by the Muses and the Hours.”6

Literature 1 M. Chatzidakis, “Yiannis Moralis”, The Charioteer review, vol. 1, no. 1, Yannis Moralis, Commercial Bank of Greece Group of Companies Summer 1960, pp. 56-62. See also M. Chatzidakis, “Yiannis Moralis”, edition, Athens 1988, no. 95, p. 99 (illustrated). Zygos magazine, no. 80, July 1962, p. 6. 2 See D. Papastamos, “Yannis Moralis the Artist” in Yannis Moralis, Noble simplicity and calm grandeur mark Moralis’s Two nudes, Commercial Bank of Greece, Athens 1988, pp. 27, 28. achieving a modern realization of the classical ideal: the elimination 3 See K. Koutsomallis, “The Painting of Yannis Moralis, a Tentative of the temporary, the elevation of form to a symbol and the pursuit of Approach” in Y. Moralis, Traces, exhibition catalogue, Museum of balance between lyrical feeling and intellectual thought. Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, p. 17. Reviewing the artist’s work up to 1958, when Moralis co-represented 4 See H. Kambouridis - G. Levounis, Modern Greek Art - the 20th Greece in the 29th Venice Biennale, M. Chatzidakis noted: “In seeking Century, Ministry of the Aegean, Athens 1999, p. 126. to enrich the intellectual content of his work, Moralis was led to a 5 C. Christou, Moralis, Adam editions, Athens 1993, pp. 20, 33, 34. conscious and gradual conquest of space where the construction is 6 N. Hadjikyriakos-Ghika, Nea Estia magazine, no. 1245, 15 May 1979. at once solid and expressive; where every inch of painted surface is subordinate to the spirit of the canvas which expresses an enduring world. Never has Moralis attempted to reproduce nature’s play of light on bodies or objects. Instead, his figures are imbued with their own light, stable and unnatural, as found in Byzantine art, where the light source is indefinable. Anatomical distortion and the foreshortened perspective of figures are subordinate to the calm rhythm of the composition.”1

The female nude has always been a key subject in Moralis’s art, tracing his stylistic development and revealing the wide range of his art historical and intellectual interests.2 In the 1950s, his evocative female nudes, either sitting or reclining, were gradually stripped of descriptive detail and handled in a more abstractive fashion, without, however, losing their recognizable form.3 In Two nudes, the purity of form, the composed immobility, the subtle use of colour and spatial relationships, the serene and disciplined rhythm dictated by a deep sense for human scale, and the shallow compositional depth reminiscent of sculptural relief, echo the timeless values of Greek idealistic art4 (compare Composition, 1951, Bonhams, Greek Sale, 17 April 2019, lot 32.)

For details of the charges payable in addition to the final Hammer Price of each Lot 68 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 69 50AR SPYROS VASSILIOU (1902-1985) Window signed in Greek and dated ‘76’ (middle right) acrylic and gold leaf on canvas 80 x 65 cm. Painted in 1976.

£7,000 - 10,000 €8,200 - 12,000

For details of the charges payable in addition to the final Hammer Price of each Lot 70 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 51AR SPYROS VASSILIOU (1902-1985) Golden Athens signed in Greek and dated ‘83’ (lower right) acrylic and gold leaf on canvas 120 x 150 cm. Painted in 1983.

£18,000 - 25,000 €21,000 - 29,000

This work is accompanied by a certificate of authenticity from the Atelier Spyros Vassiliou. The work was also used as cover on a leaflet with information on the Atelier Spyros Vassiliou.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 71 52

52AR 53AR PANAGIOTIS TETSIS (1925-2016) SPYROS VASSILIOU (1902-1985) Houses in Athens View of Athens, Parthenis' house signed in Greek (lower right) signed in Greek and dated ‘78’ (lower right) oil on canvas acrylic and gold leaf on canvas 47.5 x 128 cm. 80 x 120 cm. Painted in 1965. Painted in 1978.

£15,000 - 20,000 £8,000 - 12,000 €18,000 - 23,000 €9,400 - 14,000

Provenance This work is accompanied by a certificate of authenticity from the Acquired directly from the artist by the family of the present owner. Atelier Spyros Vassiliou.

Exhibited Athens, Athens Art Gallery, Hilton, Tetsis, November 2-22, 1965 (possibly).

Literature Zygos magazine, no. IX-65, November-December 1965, p. 52 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 72 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 53

THE GREEK SALE | 73 54AR YIANNIS TSAROUCHIS (1910-1989) Eros and Death signed in Greek and dated ‘13 - 6 - 49’ (lower left) gouache on paper 28 x 21.5 cm.

£10,000 - 15,000 €12,000 - 18,000

Provenance Acquired directly from the artist by the family of the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 74 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 55AR YIANNIS TSAROUCHIS (1910-1989) As noted by critic D. Kapetanakis, Tsarouchis found the truth of The visit Modern Greece in the bodily forms of Greek youth. In contrast to other signed in Greek and dated ‘1962’ (lower left) cultures, such as the French, which are woman-centred, Greece, both gouache on paper ancient and modern, is mainly expressed through masculine types.1 In 21 x 30 cm. the same vein, Nobel laureate O. Elytis noted that “Tsarouchis restored the human body in a land whose age-old civilisation has always £12,000 - 18,000 been man-centred. Thanks to his paintings, the figures of Hermes, €14,000 - 21,000 Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.”2 Showcasing Tsarouchis’s signature subject and one of the most celebrated images of 20th century Greek art, The Visit conveys a As noted by Tsarouchis himself, “to speak of the representation of man world of clarity and truthfulness, capturing in the male youth’s sincere, in Greek art is superfluous because whatever great Greek art achieved straightforward gaze, unfeigned composure and sharp, clean-cut facial through the centuries it was with man as its subject. I think of the features the humane dignity and inner strength of Modern Greece. Kouroi, the Apollos and the incomparable icons of Christ. The study Displaying a creative fusion of fluid line, simplified design and brilliant, of the male figures helped me understand what is emphatically called translucent colour, the artist conveys a serene world of pure forms, today national identity.”3 seeking to highlight and ultimately typify the folksiness of his subject and transform it into an enduring symbol of his lifelong quest for 1 See D. Kapetanakis, “Yannis Tsarouchis, Return to Roots” [in Greek], Greekness. Nea Grammata magazine, 1937. 2 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964. 3 Apodosis, Yannis Tsarouchis Texts dictated to Alexios Savakis [in Greek], Athens 2005, p. 44

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 75 Property of a Gentleman, London Lots 56 - 66

56 ICON OF THE NATIVITY Greece, 18th Century traditionally painted in strong colours on gilt ground, in later parcel-gilt carved frame 42.5 x 32.2 cm.

£20,000 - 25,000 €23,000 - 29,000

Provenance Bonhams, London, The Russian Sale, 26 November 2014, lot 180. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 76 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 77 57

57AR 58 NIKOS HADJIKYRIAKOS-GHYKAS (1906-1994) YIANNOULIS HALEPAS (1851-1938) View of Athens The portraits of Mr and Mrs Vitali signed and stamped (lower right) both signed in Greek (lower right) watercolour and pencil on paper charcoal on paper 21 x 48 cm. 25 x 19 cm each. Painted c. 1975. £4,000 - 6,000 £10,000 - 15,000 €4,700 - 7,000 €12,000 - 18,000 Provenance Provenance Bonhams, London, The Greek Sale, 14 December 2004, lot 110. Bonhams, London, The Greek sale, 24 April 2013, lot 5. Acquired from the above sale by the present owner. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 78 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 68

THE GREEK SALE | 79 59 NIKIFOROS LYTRAS (1832-1904) Promoting a world of everlasting spiritual values vis-à-vis modernity’s A moment of prayer transient, fragmentary and largely superficial experience, this evocation signed in Greek (lower left) of noble sentiment and archaic simplicity conveys to the secularised oil on panel viewer a sense of nostalgic desire for more stable times, for an age- 31.5 x 18.5 cm. old, uncorrupted world of firm religious belief and pure spiritual feeling. Here, Lytras seems to concentrate upon both the virtues of the £15,000 - 20,000 contemplative, moral life and the veneration of the Greek Orthodox €18,000 - 23,000 tradition, which he believed was indispensable for the nation’s survival and well being. “Lytras seeks to sustain the Greek people’s adherence Provenance to their religious traditions, customs and ceremonial practices, and Private collection, Athens. enhance their religious sentiment, well aware of its consoling powers Bonhams, London, The Greek Sale, 26 November 2013, lot 16. in the face of life’s adversities and sudden changes.”1 As Lytras himself Acquired from the above sale by the present owner. used to say “the customs of the Greek people brought independence and must be protected like the apple of one’s eye.”2 This wonderful vignette of church genre evoking a sentiment of pious respect, heart-felt religiosity and spiritual experience, showcases 1 X. Sochos, Greek Artists [in Greek], Leonis editions, Athens 1930, p. Lytras’s amazing skill in the freer handling of form. The generalised 25. rendering, diffused outlines and elimination of detail point to the artist’s 2 Y. Kerofylas, Nikiforos Lytras, Patriarch of Modern Greek Painting [in ability to shift the centre of gravity in Greek art from the descriptive to Greek], Filippotis editions, Athens 1997, p. 57. the purely pictorial, from the external approach to the painting’s inner life. Forms are simplified, drawing loosens up and surfaces are handled with broader brushstrokes and heavier application of paint, while the human subjects are rendered with a deliberate indifference for their material substance. Immersed in the spiritual ambiance, the priest, the young woman and her two children surrender their individual specificity as something incongruous and incidental to take on a symbolic quality, honouring the divine. Humility and veneration endow the scene with a solemn grandeur accentuated by a limited palette of subdued hues that perfectly match the austerity of the Byzantine temple.

For details of the charges payable in addition to the final Hammer Price of each Lot 80 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 81 60AR SPYROS VASSILIOU (1902-1985) Athens at night signed in Greek and dated ‘64’ (lower right) oil on hardboard 114 x 147.5 cm.

£20,000 - 25,000 €23,000 - 29,000

Provenance Bonhams, London, The Greek Sale, 9 April 2014, lot 2. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 82 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 83 verso recto

61AR THEODOROS STAMOS (GREEK/AMERICAN, 1922-1997) Untitled signed ‘Σtamos’ (lower left) oil on card 92 x 61.5 cm.

£15,000 - 20,000 €18,000 - 23,000

The work is painted on both sides.

Provenance Christie’s, London, Greek Sale, 9 December 1996, lot 141. Private collection, Athens. Bonhams, London, The Greek Sale, 26 November 2013, lot 55. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 84 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 62

62AR YIANNIS SPYROPOULOS (1912-1990) Abstract Composition signed in Greek (lower left) mixed media on paper 38 x 28 cm. Painted in 1965.

£5,000 - 7,000 €5,900 - 8,200

Provenance Private collection, Athens. Bonhams, London, The Greek Sale, 9 April 2014, lot 2. Acquired from the above sale by the present owner.

63AR PANAGIOTIS RAYMONDOS (1927-1995) Angel signed ‘RAIMODOS’ (on the base) wood 94 x 30 x 48 cm.

£3,000 - 4,000 €3,500 - 4,700

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 85 64AR NIKOS KESSANLIS (1930-2004) Provenance Gesture Sotheby's, London, Greek Sale, 9 May 2011, lot 87. signed and dated ‘K.NIKOS 79’ (lower right) Acquired from the above sale by the present owner. acrylic on canvas 85 x 72 cm. Literature Nikos Kessanlis, retrospective exhibition catalogue, Macedonian £10,000 - 15,000 Museum of Contemporary Art, Thessaloniki Cultural Capital of Europe €12,000 - 18,000 1997, p. 99 (illustrated). Nikos Kessanlis, Adam editions, Athens 1998, p. 99 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 86 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 65AR NIKOS KESSANLIS (1930-2004) In 1957, the year he painted Fiori, Kessanlis launched his first Solo Fiori Exhibition in Rome in the well known Galleria d’arte L’Obelisco. This signed and dated ‘NIKOS 57’ (lower left); signed, dated and titled landmark year marked the beginning of the artist’s international career ‘Fiori/NIKOS 1957’ (on the reverse) and most of all his active participation in the Italian art scene. It was oil on canvas in this period that Kessanlis started creating strikingly beautiful works, 69 x 100 cm. highlighting his aspiration to portray imagery of floating lines and curvilinear forms. Fiori reveals a balanced combination of movement £10,000 - 15,000 and colour. In fact, as the art critic Boatto stated:”’Nikos’ painting €12,000 - 18,000 reveals a luminous world, full of miracles and mysteries, a world of Mediterrenean myths”.1 Provenance Private collection, California. The art critic G.C Argan, who prefaced the 1957 show spoke of the Bonhams, The Greek sale, 27 November 2012, lot 47. artist’s ‘barbaric byzantinism’. “There is an element of reciting or Acquired from the above sale by the present owner. dancing in these agressive paintings; a persistent desire for movement according to some sort of inner rhythm that leaves behind something Exhibited more than a mere image: the glowing or luminous line of mouvement.”2 Rome, Galleria dell’ Obelisco, Nikos, Prima Mostra in Italia, December In this work, this avant-garde artist, Kessanlis, expresses his persistent 2-12, 1957 (possibly). tendency towards surrealistic and biomorphic representations of free movement and dazzling colours.

1 A. Boatto, Nikos Kessanlis, Il Taccuino delle Arti, 1959 as riprinted in Nikos Kessanlis, ed. G.Tzirtzilakis [in Greek], Athens 1998, p. 74. 2 G. C. Argan, Presentazione, Galleria dell’Obelisco, Rome, 1957 as reprinted in Nikos Kessanlis, p. 61.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 87 66AR CHRYSSA (VARDEA) (1933-2013) Multiple A neon construction in plexiglass box 48 x 38 x 24 cm. edition of 12 Executed in 1979.

£6,000 - 8,000 €7,000 - 9,400

Exhibited Athens, Zoumboulakis Galleries, 1979.

For details of the charges payable in addition to the final Hammer Price of each Lot 88 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. OTHER PROPERTIES

67AR MARIOS PRASSINOS (1916-1985) Le Ravin signed ‘Prassinos’ (lower right); titled and dated ‘LE RAVIN/PARIS/ JAN.54’ (on the reverse) oil on canvas 60 x 81 cm.

£6,000 - 8,000 €7,000 - 9,400

Provenance Galerie de France, Paris. Private collection, Athens.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 89 68 THEOFILOS HADJIMICHAEL (1871-1934) Although the subject has a strong contemporary feel and alludes to a Sailor and Euridice western iconographic tradition, it is nonetheless handled in a fashion inscribed in Greek with title (upper part) deeply rooted in Byzantine and folk tradition, emulating age-old natural pigments on canvas models, such as the egg-shaped faces, the well-delineated features 81 x 80 cm. and the frontal approach. The full frontal posture, a defining feature of Byzantine icon painting, creates a powerful vertical thrust, which £40,000 - 60,000 the artist knowingly balances by simply combining it with the strong €47,000 - 70,000 horizontal defined by the sailing ship in the distant background. The scene is set against a typically Greek rocky landscape with olive trees, Provenance which goes back not only to the Byzantine world and the iconographic Constantinos Koumbas collection, Mytilene. conventions of Virgin Mary shown recumbent in mountainous terrain Inherited from the above by the present owner. outside the nativity cave, but harks even further back to the rocky outcrops with trees and plants captured in the magnificent wall Literature paintings of prehistoric Santorini (compare Room Delta 2 at Akrotiri, Agiasos magazine, no. 146, January-February 2005, p. 14 Thera). (mentioned). A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 60 Moreover, the amorous subject alludes not only to one of the artist’s (illustrated). favourite medieval themes, Erotokritos and Aretoussa, but also to the ancient myth of Orpheus and Eurydice, showing how Theofilos, with This disarmingly seductive painting was most probably painted his instinctive knowledge and keen sense of past, could easily migrate after 1926 when Theofilos, following a forty-year odyssey, returned from one era to another, capturing bygone glory as a form of eternity to his native Mytilene, where he enjoyed a very creative and prolific constantly reborn in the present. It is this long and rich cultural heritage period, during which he painted some of his best works.1 Here, a that makes him paint in a distinctly Greek manner. As the painter young girl in a European outfit holding an umbrella lends her hand O. Kanellis once said, wherever in the world one sees a painting by to a moustachioed sailor who assists her in embarking a little boat, Theofilos, they will instantly say: “This is no doubt a Greek work of while their fiery glances seem to denote or foreshadow a romantic art.”2 affair. The scene, lovingly filtered through the artist’s rich imagination and imbued with a spirit of untutored simplicity, echoes the particular 1 See N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens fondness of the island’s inhabitants for casual revelry and their carefree 1978, p. 153. attitude towards life, while the floral motifs—boldly coloured leaves 2 O. Kanellis, “The Painter Theofilos” [in Greek] in The Painter Theofilos and flowers—embellishing the frame reflect a particularly happy time in in Mytilene, exhibition catalogue, Mytilene 1962. Theofilos’ art and life.

*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 details of the charges payable in addition to the final Hammer Price of each Lot 90 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 91 69AR EPAMINONDAS THOMOPOULOS (1878-1974) Boucolic scene signed in Greek (lower left) oil on canvas 80 x 120.5 cm.

£5,000 - 7,000 €5,900 - 8,200

Literature Peloponnisiaki Protochronia annual edition, vol. 9, 1965, p. 83 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 92 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 70AR APOSTOLOS GERALIS (1886-1983) A moment of rest signed in Greek (lower right) oil on panel 75 x 55.5 cm.

£6,000 - 8,000 €7,000 - 9,400

Provenance Private collection, Athens.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 93 71AR 72AR GEORGIOS GOUNAROPOULOS (1889-1977) POLYKLEITOS RENGOS (1903-1984) Nymph in a dream landscape Spring signed ‘Gounaro’ (lower left) signed in Greek and dated ‘1949’ (lower left) oil on canvas egg tempera on panel 65.5 x 92.5 cm. 88.5 x 59 cm.

£4,000 - 6,000 £5,000 - 7,000 €4,700 - 7,000 €5,900 - 8,200

Provenance Exhibited Private collection, New York. Athens, Parnassos Gallery, Polykleitos Rengos, May 17 - June 7, Sotheby’s, London, 22 November 2010, lot 126. 1949, no. 58 (listed in the exhibition catalogue, p. 12). Acquired from the above sale by the present owner. Thessaloniki, Hall of the Chamber of Commerce and Industry, Polykleitos N. Rengos, November 1949, no. 46 (listed in the exhibition catalogue). Athens, National Gallery - Alexandros Soutzos Museum, Polykleitos Rengos, September 15 - October 19, 1980, no. 67 (listed in the exhibition catalogue, p. 40). Thessaloniki, Vafopouleio Cultural Centre, The Nude in Polykleitos Rengos’s Artistic Creation (1903-1984), January 27 - February 28, 1999, no. 100 (illustrated on the exhibition catalogue cover).

Literature Ethnos newspaper, May 28, 1949 (mentioned).

94 | BONHAMS 72

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 95 73

73AR JEAN XCÉRON (GREEK/AMERICAN, 1890-1967) Portrait and figure signed and dated ‘Xceron/31’ (lower right) oil on canvas 46 x 55 cm.

£3,000 - 5,000 €3,500 - 5,900

For details of the charges payable in addition to the final Hammer Price of each Lot 96 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 74

74AR GEORGIOS BOUZIANIS (1885-1959) Reviewing the 1932 exhibition of Bouzianis’s watercolours at the Hof Blick Barchfeld gallery in Leipzig, art critic M. Schwimmer remarked: signed (lower right), dated ‘30’ and inscribed indistinctly (lower left); “Employing the most frugal means, the artist conveys powerful signed ‘Jo Busianis’ and inscribed ‘Hof Blick/Paris’ (on the pass-par- and insightful impressions, a sense experience of form and colour tout) more intense than any offered by even the best watercolours by watercolour and pencil on paper Nolde or Kirchner,”3 while in an essay prefacing the artist’s 1965 41 x 52 cm. posthumous retrospective in Athens, art critic G. Mourelos noted: “Bouzianis’s watercolours constitute a monumental accomplishment in £7,000 - 9,000 contemporary European art.”4 €8,200 - 11,000 1 Bouzianis himself called this period “wet” because he focused Provenance primarily on watercolour painting. Purchased from the artist and thence by descent to the present owner. 2 The black iron gate motif in the foreground is used as a vital compositional element and appears in a number of the artist’s In this brilliant piece of fluid colour and evocative form painted during watercolours from the period. (Compare Yard view in the A. the artist’s “wet period” in Paris,1 all elements of the natural and Antonopoulos collection). See also A. Kouria, 55 Unknown Works by manmade world2 translate into abstract shapes and shimmering blots Known Greek Artists, ELIA edition, Athens 2002, p. 100. and washes of thinned paint laid with a directness that immediately 3 MS, Leipziger Volkszeitung daily, 23.12.1932. captures the eye. Invested with the lightness of watercolour, this 4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition precious jewel conveys a festive sense of carefree joy without losing its catalogue, Greek-American Union, Athens 1965. identity and coherence.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 97 75 EMILIOS PROSSALENTIS (1859-1926) Sailing under the moonlight signed and Greek (lower left) oil on canvas 59 x 88.5 cm.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot 98 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 76AR SPYROS VASSILIOU (1902-1985) Peaceful shore signed in Greek and dated ‘76’ (lower right) acrylic, silver leaf and mixed media on canvas 55 x 73 cm.

£5,000 - 7,000 €5,900 - 8,200

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 99 77AR THANOS TSINGOS (1914-1965) Multicoloured flowers signed ‘TSINGOS’ (lower right) oil on canvas 101 x 150 cm.

£18,000 - 25,000 €21,000 - 29,000

For details of the charges payable in addition to the final Hammer Price of each Lot 100 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 101 78

79

102 | BONHAMS 80

78* AR 79AR 80AR YIANNIS SPYROPOULOS (1912-1990) NIKOS HADJIKYRIAKOS-GHIKA NIKOS ENGONOPOULOS (1910-1985) In the forest (1906-1994) Leandros signed in Greek (lower left) Flowers signed in Greek (lower right) oil on paper signed ‘Ghika’ and stamped (lower center) watercolour and ink on paper 28 x 49 cm. coloured crayons and pencil on paper 21 x 14.5 cm. Painted in 1957. 24 x 33 cm. Painted in 1964. Painted c. 1987-90. £2,000 - 3,000 £3,000 - 5,000 €2,300 - 3,500 £3,000 - 5,000 €3,500 - 5,900 €3,500 - 5,900 Provenance Exhibited Private collection, USA. Athens, Astrolavos gallery, Group show The human figure, 1999-2000.

Literature N. Engonopoulos, Designs and colours, 1996, Ypsilon publications, p.49 Lexi, no 179, January – March 2004, p. 73. Nikos-Engonopoulos, catalogue raisonne, Benaki museum, Athens 2007, no 844, p. 489 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 103 Property of Demis Roussos

81AR YIANNIS TSAROUCHIS (1910-1989) Kinderkarneval oil on canvas 167 x 230 cm.

£20,000 - 30,000 €23,000 - 35,000

This engaging large-scale painting, commissioned by the internationally acclaimed Greek pop star, friend of Tsarouchis, Demis Roussos, was painted in the 1970's after Kinderkarneval (1888) by Friedrich August von Kaulbach (1850-1920), a German portraitist and history painter who worked in the manner of Hans Holbein the Younger.

For details of the charges payable in addition to the final Hammer Price of each Lot 104 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 105 Property of Epsilon Art Collection Lots 82 - 86

82AR ALEXIS AKRITHAKIS (1939-1994) Exhibited L’ Alphabet Grec Thessaloniki, Macedonian Museum of Contemporary Art - Thessaloniki signed and dated ‘Akrithakis 70’ (lower right); signed in Greek, titled Cultural Capital of Europe, Akrithakis, retrospective exhibition, and inscribed ‘Berlin / L’ALPHABET GREC/ Berlin Januar 1970’ (on December 19, 1997 - February 15, 1998 (illustrated in the exhibition the reverse) catalogue, p. 70). tempera and ink on card Athens, National Gallery - Alexandros Soutzos Museum, Akrithakis, 50 x 65 cm. retrospective exhibition, May 4 - June 29, 1998 (illustrated in the Painted in 1970. exhibition catalogue, p. 70).

£15,000 - 20,000 Literature €18,000 - 23,000 Arti magazine, vol. 4, March-April 1991, p. 61 (illustrated). D. Zacharopoulos, Alexis Akrithakis, K. Adam editions, Athens 2005, p. Provenance 35 (illustrated). Sotheby's, London, Greek Sale, 16 November 2005, lot 32. D. Zacharopoulos, Alexis Akrithakis, Contemporary Greek Artists Private collection, UK. series, Ta Nea editions, Athens 2007, p. 20 (illustrated). Acquired from the above by Epsilon Art collection Contemporary Greek Art Institute, http://dp.iset.gr, Alexis Akrithakis / Artworks, Athens 2012-2016, p. 2 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 106 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 107 83AR YIANNIS MORALIS (1916-2009) Echoing age-old memories of antiquity’s epithalamia nuptial songs Epithalamion dedicated to the bride and sung on the way to her marital chamber, signed in Greek and dated ‘64’ (lower right); signed and dated this perfectly balanced composition of pure form, elegant line, ‘MORALIS/ATHÈNES/1964’ (on the reverse) harmonious proportion and disciplined rhythm, adheres to a coherent oil on canvas inner order dictated by the timeless values of ancient Greek art and the 73 x 50 cm. classical sense for human scale. Painted in 1964. The painting is one of the finest examples of Moralis’s famed £30,000 - 40,000 epithalamia series from the 1960s, a body of work celebrating the €35,000 - 47,000 erotic union of man and woman and representing both a continuation of and a departure from his earlier epitymvia compositions. As noted Provenance by Athens National Gallery Director M. Marina Lambraki-Plaka, “in the T. Zoumboulakis gallery. artist’s epithalamia paintings, volumes recede, handing supremacy Private collection, Athens. over to the outlines, which tense dynamically to suggest the third Bonhams, London, The Greek Sale, 25 November 2014, lot 74. dimension. His palette is now limited to warm siennas and ochres, Acquired from the above sale by Epsilon Art Collection. evening-sky blues, whites, blacks and greys. Even subtle chiaroscuro effects are totally abolished, while colours become solid and Exhibited completely flat. Paradoxically, the more ‘modern’ Moralis becomes the Athens, Tassos Zoumboulakis Gallery, 1964, no 14. more classical, the more ‘ancient’ he tends to be.”1 Athens, Alexander Iolas – Zoumboulakis Gallery, March 1972, no. 14 (illustrated in the exhibition catalogue). Here, his evocative female nude is stripped of descriptive detail and Athens, National Gallery - A. Soutzos Museum, Yannis Moralis, April handled in such an abstractive fashion that it takes on a symbolical 1988, no. 51 (possibly). meaning, liberated from the burden of physical existence without losing its recognisable form. One can almost trace the progress from the Literature sensual aspects of the subject to the metaphysical and transcendental. Yannis Moralis, Commercial Bank of Greece Group of Companies, As Nobel Laureate O. Elytis once noted, Moralis was always driven by Athens 1988, no. 146, p. 146 (illustrated). a longing for the monumental, bestowing even on his most sensual Moralis, Adam editions, Athens 1993, no. 86 (illustrated). conceptions a feeling of mystery and a sense of the sacred.2

1. M. Lambraki-Plaka, Yannis Moralis, a 20th Century Classic in A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2011, p. 12. 2. See O. Elytis’s preface to the Moralis exhibition catalogue, Iolas- Zoumboulakis Gallery, Athens 1972.

For details of the charges payable in addition to the final Hammer Price of each Lot 108 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 109 84

84AR DIMITRIS MYTARAS (1934-2017) Two figures signed in Greek (lower center) oil on canvas 50 x 70 cm.

£5,000 - 7,000 €5,900 - 8,200

85AR ALECOS FASSIANOS (BORN 1935) Un homme heureux signed in Greek (upper left) and titled (upper part) oil on canvas 85.5 x 39 cm.

£6,000 - 8,000 €7,000 - 9,400

Provenance Sotheby's, London, Greek sale, 16 November 2005, lot 62. Opera Gallery, London. Acquired from the above by Epsilon Art collection.

85 For details of the charges payable in addition to the final Hammer Price of each Lot 110 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 86AR GEORGE LAPPAS (1950-2016) Red Man mixed media, plastic, ceramic and neon light 234 x 87 x 65 cm. (with loose)

£8,000 - 12,000 €9,400 - 14,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 111 OTHER PROPERTIES

87AR ALEXIS AKRITHAKIS (1939-1994) Theater signed and dated ‘Akrithakis 91’ (lower left) acrylic on canvas 80 x 100 cm. Painted in 1991.

£15,000 - 20,000 €18,000 - 23,000

Literature D. Zacharopoulos, Alexis Akrithakis, K. Adam editions, Athens 2005, p. 175 (illustrated). (with wrong dimensions) D. Zacharopoulos, Alexis Akrithakis, Contemporary Greek Artists series, Ta Nea editions, Athens 2007, p. 128 (illustrated). (with wrong dimensions)

For details of the charges payable in addition to the final Hammer Price of each Lot 112 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 88AR ALEXIS AKRITHAKIS (1939-1994) Theater signed and dated ‘Akrithakis 91’ (lower left) acrylic on canvas 80 x 100 cm. Painted in 1991.

£15,000 - 20,000 €18,000 - 23,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 113 89

89AR 90AR JEAN XCÉRON (GREEK/AMERICAN, 1890-1967) THEODOROS STAMOS (GREEK/AMERICAN, 1922-1997) Source No. 445 Infinity Field Lefkada Series #I, 1974 signed and dated ‘Xceron/62’ (lower left); signed, titled and dated titled, dated and signed on the overlap “Infinity Field Lefkada Series #I, ‘Jean Xceron/”Source”/1962’ (on the reverse) 1974, Stamos” oil on canvas acrylic on canvas 81.5 x 65 cm. 157 x 116 cm. Painted in 1962. £18,000 - 25,000 Provenance €21,000 - 29,000 Kouros gallery, New York. Private collection. Provenance Doyle, New York, Modern & Contemporary Art Sale, 25 May 2011, lot 83. £5,000 - 7,000 Piasa, Paris, Art Moderne, Art Contemporain Sculpture & Art Hellénique, €5,900 - 8,200 30 November 2016, lot 21. Private collection, Athens.

Exhibited Florida, Metcalfe Klopfer Gallery, Theodoros Stamos Selections 1959- 1986, February 11 - March 10, 1999, no. 31 (illustrated in the exhibition catalogue, p. 71).

For details of the charges payable in addition to the final Hammer Price of each Lot 114 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 90

THE GREEK SALE | 115 91AR GEORGIOS DERPAPAS (1937-2014) Untitled 1987 signed in Greek and dated ‘87’ (lower right) acrylic and gold leaf on wood 74.5 x 69 x 3 cm. Painted in 1987.

£4,000 - 6,000 €4,700 - 7,000

For details of the charges payable in addition to the final Hammer Price of each Lot 116 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 92AR SPYROS VASSILIOU (1902-1985) Sunset signed in Greek and dated ‘81’ (lower right) acrylic and gold leaf on canvas 65 x 80 cm. Painted in 1981.

£6,000 - 8,000 €7,000 - 9,400

We are grateful to Atelier Spyros Vassiliou for confirming the authenticity of this work.

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 117 93

93AR 94AR THEODOROS STAMOS (GREEK/AMERICAN, 1922-1997) CHRYSSA (VARDEA) (1933-2013) Untitled Chinese signed, dated and with dedication ‘For Michael love Stamos 1977’ signed ‘Chryssa’ (lower right) (lower right) oil on canvas and neon light acrylic on paper 96 x 69 cm. 76.5 x 56.5 cm. Executed c. 1970-73 (and reworked in 2006).

£6,000 - 8,000 £15,000 - 20,000 €7,000 - 9,400 €18,000 - 23,000

Provenance Gift of the artist to Michael Domberger, owner of Edition Domberger, Filderstadt. Private collection, Athens.

For details of the charges payable in addition to the final Hammer Price of each Lot 118 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 94

THE GREEK SALE | 119 95AR GEORGIOS MAVROIDIS (1912-2003) Couple signed in Greek (lower left) oil on canvas 154.5 x 84 cm.

£9,000 - 14,000 €11,000 - 16,000

For details of the charges payable in addition to the final Hammer Price of each Lot 120 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 96AR YIANNIS PAPPAS (1913-2005) Greek kore signed in Greek (on the base) Bronze 70 cm high Edition of 8. Conceived in 1959.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 121 97AR YIANNIS SPYROPOULOS (1912-1990) Synthesis N signed in Greek (lower right) oil in canvas 60.5 x 80.5 cm. Painted in 1959.

£15,000 - 20,000 €18,000 - 23,000

Provenance Bonhams, The Greek Sale, 10 Nov 2008, lot 55. Acquired from the above by the present owner.

Literature Y. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 491b, p. 370 (listed), p. 222 (referred), p. 219 (illustrated).

A powerful mixture of simplicity and sophistication and a wise conciliation between gestural brushwork and sturdy compositional structure, this captivating work offers a commanding display of technical discipline and intuitive expression. Planes, surfaces and textures are meticulously analysed by dark structural outlines, while intense counterbalancing forces and energetic shapes are articulated into a serene and robust geometrical structure set in motion by circular gestural marks that endow the composition with an improvised yet coherent inner rhythm.1 “The Greek scenery with its architecture of masonry fences, arches, courtyards and dry stone walls, observed from afar as outlined geometrical shapes, constituted the onset of visual stimulation before becoming a painterly proposal.”2

This beautiful canvas also reflects Spyropoulos’ deep interest in Byzantine art. Professor C. Christou notes: “The golden-yellow colour that comes to dominate the work of Spyropoulos by 1960 and which in essence reflects nothing more than the presence of sunlight, or rather Greek light, is something he finds around and within himself, in the past from which he hails and the present where he belongs. It reveals the influence of the Byzantine icon painting he grew up with and his familiarity with the Greek light under which he lives, while at the same time his work expresses the intricate nature of modern artistic creation.”3

Yiannis Spyropoulos was the first Greek painter who, while residing permanently in Greece, managed to attain an illustrious international career, highlighted by his participation in the 1960 Venice Biennale, where he was awarded the UNESCO prize. His works, which represent the most advanced and mature aspect of Greek abstraction, have been included in prestigious private collections around the globe -particularly in America where this painting comes from- and exhibited at the most important European and American museums of modern art.4

1 See E. Ferentinou, “Jannis Spyropoulos” [in Greek], Zygos magazine, no.32, July 1958, p. 18. 2 L. Tsikouta, “Processes, Influences, Assimilations, Personal Idiom, Birth of an Artwork: The Case of Jannis Spyropoulos” in Jannis Spyropoulos, The Classicist of Abstraction, exhibition catalogue, National Gallery – A. Soutzos Museum, Athens 1995, p. 141. 3 C. Christou, Jannis Spyropoulos [in Greek], Athens 1962, p. 158. 4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Athens 1999, pp. 156-158.

For details of the charges payable in addition to the final Hammer Price of each Lot 122 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 123 98AR PARIS PREKAS (1926-1999) Butterflies; a pair signed in Greek (upper right); signed in Greek (upper left) oil on canvas 50 x 50 cm (each).

(2)

£5,000 - 7,000 €5,900 - 8,200

For details of the charges payable in addition to the final Hammer Price of each Lot 124 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 99AR PARIS PREKAS (1926-1999) White sails signed in Greek and dated ‘68’ (upper left) oil on canvas 97 X 97 cm. Painted in 1968.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 125 101

100

100AR 101AR JASON MOLFESSIS (1925-2009) VALERIOS CALOUTSIS (BORN 1927) Untitled – diptych Black sun polyester and metallic powders signed in Greek and dated ‘98’ (upper right) 49 x 75 cm (each). mixed media and acrylic on card 50 x 64 cm. (2) £3,000 - 5,000 £4,000 - 6,000 €3,500 - 5,900 €4,700 - 7,000

Provenance Acquired directly from the artist by the previous owner. Bonhams, London, The Greek Sale, 26 November 2013, lot 60. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 126 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 102AR DIMITRIS MYTARAS (1934-2017) Landscape with sculpture signed in Greek (lower left) oil on panel 70 x 100 cm.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 127 103AR THEODOROS STAMOS (1922-1997) Aquatic forms signed and dated ‘T. ΣTAMOS 47’ (lower left) oil on masonite 60.5 x 27 cm. Painted in 1947.

£8,000 - 12,000 €9,400 - 14,000

Provenance ACME Fine Art. Private collection, Boston. Private collection, New York. Private collection, Athens.

104AR CHRYSSA (VARDEA) (1933-2013) Loews signed ‘Chryssa’ (lower right) oil on canvas 129.5 x 90.5 cm.

£14,000 - 18,000 €16,000 - 21,000

Provenance Maria Kotzamani, Athens. Private collection, Athens.

103

For details of the charges payable in addition to the final Hammer Price of each Lot 128 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 104

THE GREEK SALE | 129 105AR ALECOS CONDOPOULOS (1905-1975) Passage of time signed in Greek and dated ‘973’ (lower left); signed, titled in Greek and dated ‘973’ (on the reverse) oil on canvas 125 x 140 cm. Painted in 1973.

£16,000 - 22,000 €19,000 - 26,000

Provenance The artist’s collection, Athens. Ion Vorres collection, Athens. Private collection, Athens

Exhibited Athens, National Gallery - Alexandros Soutzos Museum, Alecos Condopoulos, March 1976, no. 121 (listed in the exhibition catalogue, p. 50).

Literature S. Lydakis, Eorga, Alecos Condopoulos, the Man and his Oeuvre, Melissa editions, Athens 1975, no. 37, p. 50 (illustrated). The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 463 (mentioned). To Trito Mati magazine, no. 3, January-March 1978, p. 23 (mentioned). Alecos Condopoulos, Athens 1979, pp. 40, 66 (mentioned), no. 319 (illustrated). Vorres Museum, Athens 1997, p. 115 (illustrated). Alecos Condopoulos, Ta Nea editions, Athens 2006, p. 93 (mentioned).

For details of the charges payable in addition to the final Hammer Price of each Lot 130 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 131 106AR PAVLOS SAMIOS (BORN 1948) Soir au café “Neon” signed in Greek and dated ‘78’ (lower left); signed ‘PAVLOS SAMIOS’ (on the overlap) oil on canvas 60 x 45 cm.

£4,000 - 6,000 €4,700 - 7,000

Exhibited Athens, Zoumboulakis Gallery, Pavlos Samios, 1978 (possibly). Patras, Municipal Gallery, Pavlos Samios, 30 Ans de Peinture, retrospective exhibition, March 22 - April 22, 1999 (illustrated in the exhibition catalogue, p. 15).

Literature Samios, Painting Apology, Militos editions, Athens 2014, p. 455 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot 132 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 107AR PAVLOS SAMIOS (BORN 1948) Un café parisien signed and dated ‘P.Samios 79’ (lower right) oil on canvas 70.5 x 82.5 cm.

£6,000 - 8,000 €7,000 - 9,400

Exhibited Patras, Municipal Gallery, Pavlos Samios, 30 Ans de Peinture, retrospective exhibition, March 22 - April 22, 1999 (illustrated in the exhibition catalogue, p. 21).

Literature Samios, Painting Apology, Militos editions, Athens 2014, p. 443 (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 133 108AR ALECOS FASSIANOS (BORN 1935) Un jour d’Avril signed in Greek and titled (upper left) oil on canvas 98 x 122 cm.

£20,000 - 25,000 €23,000 - 29,000

Provenance Bonhams, London, The Greek Sale, 10 April 2017, lot 64. Acquired from the above sale by the present owner.

For details of the charges payable in addition to the final Hammer Price of each Lot 134 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 135 109AR PAVLOS (PAVLOS DIONYSSOPOULOS) (1930-2019) Bar signed ‘Pavlos’ and dated ‘02’ (lower right) paper construction on wood, plexiglass box 48 x 80.5 x 21.5 cm. Executed in 2002.

£5,000 - 7,000 €5,900 - 8,200

For details of the charges payable in addition to the final Hammer Price of each Lot 136 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 110AR DIMITRIS MYTARAS (1934-2017) Three muses signed in Greek (lower center) oil on canvas 130.5 x 160 cm.

£15,000 - 20,000 €18,000 - 23,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 137 111AR NIKOS KESSANLIS (1930-2004) Six shadows signed ‘NIKOS’ (lower center) processed photographic imaging on canvas 80 x 100 cm.

£7,000 - 10,000 €8,200 - 12,000

For details of the charges payable in addition to the final Hammer Price of each Lot 138 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 112AR NIKOS KESSANLIS (1930-2004) Untitled / Man with dog signed ‘NIKOS’ (lower right); signed ‘Nikos’ (on the reverse) processed photographic imaging and mixed media on canvas 180 x 180 cm.

£15,000 - 20,000 €18,000 - 23,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 139 113AR SPYROS VASSILIOU (1902-1985) Boat and masts in red background signed in Greek and dated ‘65’ (lower right) acrylic on canvas 86 x 129 cm. Painted in 1965.

£6,000 - 8,000 €7,000 - 9,400

This work is accompanied by a certificate of authenticity from the Atelier Spyros Vassiliou.

For details of the charges payable in addition to the final Hammer Price of each Lot 140 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 114AR GEORGIOS DERPAPAS (1937-2014) Untitled 1980 signed and dated ‘Derpapas /80’ (lower right) acrylic and gold leaf on wood 104 x 84.5 x 4 cm. Painted in 1980.

£6,000 - 8,000 €7,000 - 9,400

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 141 115AR SPYROS VASSILIOU (1902-1985) Boat and charms signed in Greek and dated ‘81’ (lower right) acrylic on canvas laid on hardboard 92 x 52.5 cm. Painted in 1981.

£6,000 - 8,000 €7,000 - 9,400

This work is accompanied by a certificate of authenticity from the Atelier Spyros Vassiliou.

For details of the charges payable in addition to the final Hammer Price of each Lot 142 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 116AR MARIA FILOPOULOU (BORN 1964) Swimmers with ancient ruins signed ‘M.Filopoulou’ (lower left) oil on canvas 135 x 200 cm.

£8,000 - 12,000 €9,400 - 14,000

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 143 117AR CHRYSSA (VARDEA) (1933-2013) Box signed twice ‘Chryssa’ (on the reverse) construction with wood and neon 48.5 x 55.5 x 21.2 cm.

£6,000 - 8,000 €7,000 - 9,400

Provenance Maria Kotzamani, Athens. Private collection, Athens.

For details of the charges payable in addition to the final Hammer Price of each Lot 144 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 118AR YANNIS GAÏTIS (1923-1984) Site Inconnu signed 'Gaitis' (lower right); signed 'Yannis Gaitis' and titled in Greek (on the reserve) oil on canvas 92 x 73 cm. Painted in 1982.

£10,000 - 15,000 €12,000 - 18,000

Exhibited Nardò, Galleria L'Osanna, Yannis Gaitis, April 3-22, 1982. Thessaloniki, Hommage à Yannis Gaitis, 29th Dimitria, Vafopoulio Cultural Center, 19 October - 20 November, 1994.

Literature G. Serafini, Yannis Gaitis, Medusa editions, Athens, 1988. The artist next to the presented work at his solo exhibition hosted by Yannis Gaitis Catalogue Raisonné, Angers 2003, no 1567, p. 357 Galleria L'Osanna in Italy, 1982. (illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 145 119

120

146 | BONHAMS 119AR 120AR YIANNIS PSYCHOPEDIS (BORN 1945) DIMITRIS PERDIKIDIS (1922-1989) Mens sana Soldiers signed ‘J.PSYCHOPEDIS’ (lower left) (on the left canvas); signed signed and dated ‘Perdikidis 75’ (lower right) ‘J.PSYCHOPEDIS’ (lower left on the middle canvas); signed mixed media on panel ‘J.PSYCHOPEDIS’ (lower left on the right canvas) 62 x 82.5 cm. oil on canvas Overall dimensions 207 x 87 cm £2,000 - 3,000 (70 x 65 cm, 70 x 55 cm, 70 x 60 cm) €2,300 - 3,500

£12,000 - 18,000 Provenance €14,000 - 21,000 Private collection, Athens.

Exhibited Thessaloniki, Kochlias Gallery, New Greek Realists, April 9-22, 1973, no. 10 or 11 (listed in the exhibition leaflet). Munich, Kunstveiren, Fussball, group exhibition,1973 (possibly).

Literature Thessaloniki newspaper, April 18, 1973 (discussed). P. Kounenaki, New Greek Realists 1971-1973, Exandas editions, Athens 1989, p. 76 (listed), p. 79 (discussed). B. Papadopoulou, Jannis Psychopedis, Ta Nea editions, Athens 2009, p. 136 (one canvas shown in a photograph with the artist at the Kochlias Gallery exhibition, 1973). K. Tsoukalas, M.E. Christofoglou, Y. Kouzelis, Jannis Psychopedis, Patridognosia 1964-2004, Metaichmio editions, Athens 2005, pp. 170-171, 174 (four canvases illustrated).

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 147 121AR PAVLOS (PAVLOS DIONYSSOPOULOS) (1930-2019) Bar signed and dated ‘Pavlos 95’ (lower right on the base) paper construction on wood in plexiglass box 45.7 x 34.3 x 20.5 cm.

£4,000 - 6,000 €4,700 - 7,000

For details of the charges payable in addition to the final Hammer Price of each Lot 148 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. 122AR YANNIS GAÏTIS (1923-1984) Two heads signed and numbered ‘Gaitis 8/25’ (lower right) painted wooden construction 36 x 57.5 x 6 cm.

£2,000 - 3,000 €2,300 - 3,500

For details of the charges payable in addition to the final Hammer Price of each Lot please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue. THE GREEK SALE | 149 Index

A M Akrithakis, Alexis 44, 82, 87, 88 Maleas, Constantinos 29 Mavroidis, Georgios 95 B Molfessis, Jason 100 Bouzianis, Georgios 21, 74 Moralis, Yiannis 33, 49, 83 Mytaras, Dimitris 84, 102, 110 C Caloutsis, Valerios 101 P Chatzis, Vasilios 14 Pantazis, Périclès 12 Chryssa (Vardea) 66, 94, 104, 117 Pappas, Yiannis 96 Condopoulos, Alecos 4, 105 Pavlos (Pavlos Dionyssopoulos) 40, 41, 109, 121 Continental School, 19th Century 27 Perdikidis, Dimitris 120 Prassinos, Marios 67 D Prekas, Paris 98, 99 Derpapas, Georgios 91, 114 Prossalentis, Emilios 75 Psychopedis, Yiannis 119 E Economou, Michalis 8, 28 R Engonopoulos, Nikos 18, 80 Ralli, Théodore Jacques 11, 24 Raïmondos, Panos 63 F Rengos, Polykleitos 72 Fassianos, Alecos 23, 36, 37, 42, 47 Roilos, Georgios 15 48, 85, 108 Filopoulou, Maria 116 S Samios, Pavlos 106, 107 G Sperantzas, Vassilis 22 Gaïtis, Yannis 43, 118, 122 Spyropoulos, Yiannis 20, 38, 46, 62, 78, 97 Galanis, Dimitrios 7, 34 Stamos, Theodoros 61, 90, 93, 103 Geralis, Apostolos 70 Germenis, Vassilis 19 T Gounaropoulos, Giorgios (Gounaro) 9, 71 Tetsis, Panagiotis 52 Gyzis, Nikolaos 17 Thomopoulos, Epaminondas 69 Tsarouchis, Yiannis 30, 35, 54, 55, 81 H Tsingos, Thanos 1, 5, 31, 77 Hadjikyriakos-Ghika, Nikos 2, 3, 32, 39, 57, 79 Tsoclis, Costas 45 Hadjimichael, Theofilos 16, 68 V I Vassiliou, Spyros 50, 51, 53, 60, 76 Icon, Greek 56 92, 113, 115 Isaias, Georgios A. 6 Italian School 25 X Xcéron, Jean 73, 89 K Kessanlis, Nikos 64, 65, 111, 112

L Lanza, Stefanos 10 19th Century and British Impressionist Art Lappas, George 86 Lytras, Nikiforos (Nicé phore) 13, 59 New Bond Street | 8 April, 2020

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