Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Dimitrios Emmanuel Galanis

Greece (Athènes 1882 -  1966 )
GALANIS Dimitrios Emmanuel  Seated Nude Woman

Nov 23, 2010
Find artworks, auction results, sale prices and pictures of Dimitrios Emmanuel Galanis at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert


Variants on Artist's name :

Galanes Demetrius Emmanuel


Along with Dimitrios Emmanuel Galanis, our clients also searched for the following authors:
Charles Camoin, Salvador Dali, Hans Albert Falk, Eduardo Chillida, Constantin Terechkovitch, Ferdinand Gehr, Mikhail Larionov
Artworks in Arcadja

Some works of Dimitrios Emmanuel Galanis

Extracted between 101 works in the catalog of Arcadja
Dimitrios Emmanuel Galanis - Rue Des Abbesses, Monmarte

Dimitrios Emmanuel Galanis - Rue Des Abbesses, Monmarte

Original 1909


Gross Price
Lot number: 21
Dimitrios Galanis (Greek, 1880-1966)

Rue des Abbesses, Monmarte

signed and dated 'D. Galanis 1909' (upper left)

pastel and gouache on paper

45 x 33 cm.



Brussels, Salon de l'Art Décoratif Français,

Exposition Universelle et Internationale de Bruxelles

, 1910.

A seminal work in Galanis's illustrious career, "Rue des Abbesse" from 1909 -one of his few works that bear a date- marks the artist's early engagement with the then emerging cubist movement and his gradual distancing from fauvist and Nabis influences, as well as the weighty legacy of the Toulouse-Lautrec school.

The artist portrays daily life in Paris during rush hour. The main thoroughfare is identified with Rue des Abbesses in Montmartre, where Galanis resided for two years at no.9 following his return from Berlin in 1909 and preceding his move to 12 Rue Cortot. The first cross street on the right is today's Rue Tholozé, while the next two are Rue Joseph de Maistre and the famed Rue Lepic, frequented by fin-de-siècle artists and intellectuals alike. The store with the light blue awning on the lower left corner is most probably today's Le Villa des Abbesses bistro at the junction of Rue Audran and Rue des Abbesses. Galanis captured his subject in striking detail, including the typical Tabac store signs, roof-top chimneys and striped shop awnings.

We are grateful to Dr. A. Drakogiorgos, scholar of D. Galanis, for the valuable information he gave us about this work.
Dimitrios Emmanuel Galanis -  Seated Nude Woman

Dimitrios Emmanuel Galanis - Seated Nude Woman

Original 1946


Lot number: 17
Dimitrios Galanis (Greek, 1880-1966)
a) Female nude (recto); seated nude woman(verso)
signed and dated 'D. Galanis'/Aout 1946' (lower right)
sanguine on paper (recto) and pencil on paper (verso)
47.5 x 56 cm.
b) Woman's profile
signed twice 'D. Galanis' (lower left and lower right)
pencil on paper
60 x 47 cm.
Dimitrios Emmanuel Galanis - La Tour Carrée

Dimitrios Emmanuel Galanis - La Tour Carrée



Gross Price
Lot number: 6
GREEK, 1880 - 1966
25,000—35,000 GBP
54 by 65cm., 21¼ by 25½in.
signed lower right
oil on canvas
A gift from Galanis' wife to the Centre Culturel Helléniquefollowing the success of the 1975 and 1976 Galanis exhibitions
Paris, Centre Culturel Hellénique, Jeunes peintres et sculpteursgrecs à Paris, 1975Paris, Musée de Montmartre, Demetrius Galanis, Paris, 1976
Les peintres français nouveaux, 1926, p. 12, no. 25,illustratedEmmanuel Mavromatis, Dimitris Galanis - Etching and Painting,Doctoral Thesis, Athens, 1983, p. 83, discussed (as GeometricalLandscape)G. Petreas, Galanis, Athens, 1955, p. 45, illustrated
Dimitrios Emmanuel Galanis - Portrait Of Fanny, The Artist's Wife

Dimitrios Emmanuel Galanis - Portrait Of Fanny, The Artist's Wife



Gross Price
Lot number: 6


GREEK, 1880 - 1966


30,000—50,000 GBP

55 by 45.7cm., 21¾ by 18in.

signed lower right

oil on canvas
We are grateful to Wanda de Guébriant of the Archives Matisse
for her assistance in cataloguing this work.


Ambro and Edmond Zeiger-Viallet, France
Sale: Goxe & Belaisch, Enghien-les-Bains, 21 June 2009
Purchased at the above sale by the present owner


This work celebrates the beauty and vivacity of Demetrios
Galanis' French wife, Stephanie-Julie Bouvier. Called 'Fanny' by
her intimates, she was a Provençale born in Castès.

Fanny's delicate features and her distinctive, almond-shaped eyes
drew the attention of many admirers; she was also a muse to Henri
Matisse, who captured her beauty and vivacity with similarly
dynamic lines to those of Galanis in his etchings Fanny de face and
Fanny de trois-quarts (fig. 1). Matisse had Fanny sit for these
etchings when Galanis was conscripted into the French army, to
financially aid his friends, as he did for the family of his friend
Juan Gris. Matisse and Galanis were in regular, friendly
correspondence from this time through to 1949, and shared many
similar interests – both were avid musicians, and often played
together, Galanis on the organ and Matisse on the violin.

Picasso, Braque, Rouault, Derain, Utrillo and many other members of
the intelligentsia and avant-garde gathered at Galanis' and Fanny's
studio-cum-home on 12 rue Cortot in Montmartre. Following the
residence of the artists Maurice Utrillo, Raoul Dufy and Suzanne
Valadon, Galanis and Fanny lived in this lively enclave between
1910 and 1964.

This portrait exhibits the influence of these modern pioneers, and
the unusual angle at which Fanny is captured, as well as the
earth-toned palette, are reminiscent of Picasso's Portrait of
Gertrude Stein of 1906.

The present work was painted around the time of Fanny and Galanis'
arrival at the rue Cortot, circa 1910, which was a period of
artistic and emotional richness for the Galanis family: Demetrios
and Fanny's son, Jean-Sébastien, was born that year in Paris.

FIG. 1, Henri Matisse, Fanny de face and Fanny de trois-quarts,
etchings, 1914
Dimitrios Emmanuel Galanis - The Painter's Family

Dimitrios Emmanuel Galanis - The Painter's Family

Original 1921


Net Price
Lot number: 27
Lot No: 27
Dimitrios Galanis (Greek, 1880-1966)
The painter's family
signed 'D. Galanis' (lower left)
oil on canvas
170 x 130 cm.
, €260,000 - 390,000
Place Bid or Track Lot
View all items in the Sale
Contact the Specialist
to discuss this lot or sale
Email: Michaela Vergottis or Deborah Cliffe
Tel: + 44 (0) 207 468 8314
Contact the Specialist
to discuss selling in a futuresale
Email: Michaela Vergottis or Deborah Cliffe
Tel: + 44 (0) 207 468 8314
To subscribe to or order a Printed Catalogue quote ref:15908
Tel: +44 (0) 1666 502 200
Painted in 1920-1921.
Girardin collection, France.
George Stringos collection, Piraeus.
Paris, Galerie La Licorne, 'L'Artiste en famille', GroupExhibition, 1921.
Paris, Galerie La Licorne, Exposition D. Galanis, 3.3- 18.3.1922,no 22.
Athens, Iliou Melathron, D. Galanis Retrospective Exhibition, 26.5- 9.6. 1928, no 11.
Avenir, 21.2.1921 (referred).
Le Temps, 16.11.1921 (referred).
G. Gabory,
Galanis, Les peintres francais nouveaux
, no 25,NRF, Paris 1926 (illustrated).
D. Evangelidis,
Great Greek Encyclopaedia (Galanis entry)
,vol.8, Makris publ., Athens 1926, p. 39 (illustrated), 40(discussed).
G. Petreas,
, Difros publ., Athens 1955, p. 53(illustrated).
F. Yofyllis,
History of Modern Greek Art 1821-1941
, vol.2,To Elliniko Vivlio publ., Athens 1963, pp. 403-404(referred).
M. Kalligas, 'Dimitris Galanis', Epoches journal, no 37, May 1966,p. 458.
A. Tassos, 'A Stroll with Galanis' Zygos magazine, no V-66, May1966, p. 31, reprinted in Zygos magazine, no 39, January-February1980, p. 40 (referred).
A. Kourtikakis,
Album of Greek Artists (1800-1978)
, vol. 1,Thessaloniki 1981, p. 22 (referred).
D. Athanasopoulos,
D. Galanis 1879-1966
, To Ochima publ.,Athens 1982, pp. 30,47 (referred).
E. Mavromattis, The Engraving and Painting of Dimitris Galanis1879-1966 (doctoral dissertation), Athens 1983, p. 69(illustrated), pp. 116-117 (discussed).
A. Kouria,
The Child in Modern Greek Art (1833-1922)
, Dodonipubl., Athens-Yannina, 1985, p. 133 (illustrated).
Evangelia Bafouni-Nikos Melios,
George Stringos
, Institutefor the Study of Local History and the History of Enterprises,Piraeus 2006, p. 120 (painting appears in the photograph of thesalon of the house).
“The best picture Galanis ever gave us is his Family”
D. Evangelidhes
“Where might
The painter’s family
, this Galanis masterpiece,be today?”
, Ambassador D. Athanassopoulos wondered in1982 in his book D. Galanis 1879-1966, referring to this monumentalwork that was exhibited in Paris along with paintings by Picassoand Bonnard and was included in the major 1928 Galanisretrospective at the Iliou Melathron (Schliemann Mansion) inAthens.
This definitive Galanis, which was highlypraised by critics and collectors alike, was a rare jewel in one ofthe most prominent interwar collections of Modern Greek art thatsurvived the 1941 and 1944 Piraeus bombings and the dark days ofGerman occupation. It was then lost for decades before beingrediscovered at the Stringos mansion in Kifissia, its appearance atBonhams marking the first time it is seen publicly in 80years.
The flagship of Galanis’s entire oeuvre and one of the mostimportant works in the history of Greek art that redefinesmonumental portraiture,
The painter’s family
reaped praiseand wonder from art critics as early as the mid 1920s. Professor D.Evangelidhes deemed it “the best picture Galanis ever gave us. Itspower of rich plasticity, solid and encompassing composition anddeep-felt spiritual expression are combined in admirable unity andtimeless harmony.”
Art historian F. Yofyllis noted that “one of Galanis’s works thatstands out is
The painter’s family
in which the figures arerendered with honesty of design and character”
, whileM. Kalligas, former Director of the Athens National Gallery madethe following incisive remark: “
The painter’s family
willremain a work of lasting value because it brought us a newatmosphere, a novel expression. Without being ostentatious, thesefigures were revolutionary for that time.”
Professor E. Mavrommatis, who wrote the artist’s monograph,remarked: “One of the most important works of Galanis’s first oneman show in Paris in 1922 was
The painter’s family
, alsoexhibited in Athens at the Iliou Melathron in 1928. Since then welost all track of this work. We were unable to locate it.
Painted in 1921, it was exhibited the same year in Paris in a groupshow entitled ‘The painter’s family’ along with works by Picasso,van Dongen, Bonnard, Vuillard, Valadon and Zadkine. In apyramid-like structure the posing figures -Galanis, his wife andson- adhere to an austere geometric organisation, which is highlycomplex and extremely interesting. Galanis creates a symbolic imagein which the figures, each looking in a different direction,project an additional geometric system superimposed over theexisting compositional structure. In this work, Galanis, relying onhis deft draughtsmanship, has captured the reflection of profoundinner contemplation with great intensity. At the same time hepainted the contoured areas with circular brushstrokes which lend acertain plasticity and harmony to the otherwise firm and austeregeometrical design. This creates a sense of balance between lineand colour. An internal balance in which both the actual andprojected geometries are integrated with colour as a structuralelement.
Colour gradations and local hues, in balance with the geometricorganization of the overall chromatic scheme shape the deeper,inner unity of this work. In
The painter’s family
the linesare so liberally structured so as to convey the impression that theline formed by the woman’s left hand extends to Galanis’s shoulder,while her right arm seems to extend to her son’s shoulder, being,at the same time, in parallel with her husband’s right hand. Neverbefore had Galanis handled the interrelation of forms with suchbalance and harmony in a system in which this interrelation plays adominant role in the work’s overall organisation. We no longerperceive specific figures or individual facial features but solelythe effects of interacting formal systems.”
Indeed, the viewer is engaged principally with the formal ratherthan the personal aspects of the image: the curves of Mme Galanis’schest are echoed in the rounded shapes of the chair and thecasually thrown garment beneath her right elbow; the crossing ofher legs is repeated in the folding of her son’s hands; and thecolour and brushwork used for her dress are variations on the tonesand patterns of the background. An intricate web of rhythms andharmonies and a rich pattern of confident brushstrokes, volumetricshapes and tubular forms modified to a gentle simplification, cometogether in the creation of a highly advanced figure composition inwhich all pictorial elements are vibrantly and inevitablyconnected.
This magnificent group portrait pictures the painter’s family inGalanis’s famous studio in Montmartre at 12 rue Cortot, which hadbeen the legendary abode of such illustrious artists andintellectuals as Utrillo, Raul Dufy and Susan Valadon. Hisstudio-home in which Galanis lived continuously from 1910 to 1964-with only a brief break during World War I- was frequented byavant-garde painters and members of the French intelligencia,including Picasso, Braque, Rouault, Utrillo, Derain and Matisse,who often played the violin.
The inclusion of an openmusic notebook on the table behind his son underscores Galanis’spassion for music.
The picture’s foreground is occupied by the likeness of theartist’s wife, Stephanie-Julie Bouvier from Aix-en-Provence,sitting restlessly at the edge of a lavish armchair, her dark,almond-shaped eyes staring out from her surroundings, her hands andposture faintly reminiscent of Picasso’s legendary
Portrait ofGertrude Stein
. Galanis and Stephanie (Fanny) were blessed witha son, Jean-Sebastien, born in Paris in 1910. This boy, depictedhere at age 10-11 standing behind his mother and holding a book,was the subject of many of Galanis’s portraits (compare
Boy withbook
, Y. Perdios collection, Athens), including the well known
Boy with wooden horse
c. 1914-19. When he grew up,Jean-Sebastien studied at the National Merchant Marine School of LeHavre and became a merchant marine captain like his grandfather.(Two portraits of Jean-Sebastien as an adult in uniform areincluded in the Y. Perdios collection.) At the outbreak of WWII andfollowing France’s capitulation, he joined General de Gaulle’sforces and participated in the fight against the Nazis as a Frenchnaval officer. On 27.11.1940 the thirty year old Capitaine au longcours, ensegne de vaiseau, de 1ère classe de réserve, and father ofCatherine Monloup, a daughter he had with his wife Sylvie, perishedwhen his ship sank after being torpedoed by a German submarine inthe Atlantic. After the war he was posthumously honoured by theFrench state and proclaimed Chevalier de mérite pour laFrance.
In light of Jean-Sebastien’s premature demise,his youthful portrait is charged with a strong emotional, evenspiritual content.
Galanis himself sits in front of his barely suggested easel, hisdelicately held brush linking him with an image that cannot beseen, a work hidden from view. This pictorial devise of the ‘hingedcanvas’, which almost coincides with the left edge of the pictureframe, is an enduring convention of self portraiture favoured by16th and 17th century artists, such as Allesandro Allori andArtemisia Gentileschi, and still surviving today in the work ofprominent figurative painters like Leon Kossoff.
Holding his palette, the painter gazes out with a smoothly groomedcomposure but his body language and over-the-shoulder stare conveya sense of relaxed confidence. In an unusually oblique view, hecasually leans forward, seeming to get closer to and more intimatewith his family and by extension the viewer. This sensitivedepiction, which demonstrates a bold direction for male portraiturein suggesting mood and meaning beyond mere likeness, reflects notjust the artist’s inner world but also something of each individualviewer’s own image of selfhood (compare C.F. Watts,
, private collection, London.)
The subject of the painting is rare, since family portraiture is asub-genre infrequently taken up by Greek painters in the 19th andearly 20th century, partly due to the inherent difficulties indepicting images of children. (Most notable exceptions are
Theartist’s family
, c. 1864-65 by N. Kounelakis, National Gallery,Athens and
by N. Xydias, private collection,Athens.)
. As noted by art historian A. Kouria in hertreatise on the representation of children in Modern Greek art, “inthe hands of a lesser artist, this subject becomes an artificial,conventional image reminiscent of old family portrait photographs.A gifted artist, however, when handling the same subject manages totranscend mere likeness, creating an image that ventures beyond thesuperficial and suggests a ‘state of being.’ Such an approach ismanifested in Galanis’s atmospheric
The painter’s family
which was exhibited in a group show of family portraits in Paris.The fruit of a blessed artistic inspiration and worthy example ofthe artist’s masterly draughtsmanship, this painting also pulsateswith inner energy. Wise linear systems in an intricate game ofstructure articulate an intensely rhythmic and vibrant image, inwhich formal values are not limited to the surface of appearancesbut dig deeper to reveal its inner content.”
The painter’s family
was eventually acquired by GeorgiosStringos (1878-1956), a leading personality in the history ofModern Greek commerce who opened new vistas in terms of trade,industry and related chambers. He was also one of the first andmost prominent collectors of Modern Greek art, demonstratingconsiderable insight and keen aesthetic criteria. According to A.Kouria, “G. Stringos was one of the major, enlightened Greekcollectors in the first half of the 20th century, along with A.Benakis, A. Antonopoulos and Ch. Loulis.”
Until theearly 1950s when the Stringos family moved to the suburb ofKifissia, the collection was housed in the famed neoclassicalStringos mansion in Pasalimani, Piraeus, depicted by Tsarouchis inone of his brilliant watercolours (Heracles Group collection,Athens.)
As mentioned in the book
Georgios Stringos
, the Stringosmansion, until recently the French Institute of Piraeus, waspurchased in 1917. One of the reasons Stringos dearly loved thishouse was because his collections could be better displayed. Duringthe German occupation the building was commandeered and used as anofficer’s club. The owners were allowed, however, to leave one oftheir people inside, a trusted caretaker, thanks to whose ingenuityand resourcefulness part of the collection was salvaged. Followingthe German retreat, the house was first commandeered by the Britishforces and then by the Greek Navy and used as an officer’s club. Upuntil 1955, when the Greek Navy ceased using it, the Stringosmansion hosted memorable festivities and magnificentreceptions.
D. Athanassopoulos,
D. Galanis
1879-1966 [inGreek], To Ochima publ., Athens 1982, p. 30.
The Galanis retrospective met with unprecedentedcritical acclaim and commercial success. Proceeds from the sale of14 oils, 20 sketches and 22 etchings reportedly reached 200,000drachma, a sum equivalent to the purchase price of a two-storyhouse in the centre of Athens. See Yofyllis, p. 403; A. Tassos, ‘AStroll with Galanis’ [in Greek], Zygos magazine, no. V-66, May1966, p. 31, reprinted in Zygos magazine, no. 39, January-February1980, p. 43; Mavrommatis, p. 34.
D. Evangelidhes,
Great Greek Encyclopaedia
(Galanis entry) [in Greek], vol. 8, Makris publ., Athens 1926 p.40.
F. Yofyllis, ‘D. Galanis’ [in Greek], FilologikiProtochronia annual, v. 5, 1948, p. 209 and F. Yofyllis,
Historyof Modern Greek Art
1821-1941 [in Greek], vol. 2, To EllinikoVivlio publ., Athens 1963, pp. 403-404.
M. Kalligas, ‘Dimitris Galanis’ [in Greek], Epochesjournal, no. 37, May 1966, p. 458.
E. Mavrommatis,
The Engraving and Painting ofDimitris Galanis
1879-1966 (doctoral dissertation) [in Greek],Athens 1983, pp. 116-117. See also p. 567 (no. 204).
See Mavrommatis pp. 31, 33. See also F.Frantzeskakis, ‘A Conversation with Galanis in 1938’ [in Greek],Techni magazine, no. 3, February 1938, reprinted in Zygos magazine,no. 39, January-February 1980, p. 32.
See Frantzeskakis, p. 35; Nea Estia journal,1.5.1949, pp. 592-594; Y. Koutsocheras,
My Friend’s Hands
,speech delivered in Patras [in Greek], 1952, reprinted in Syllektismagazine, no. 61, April 1980, p. 170; Mavrommatis, p. 38.
‘In his son’s portraits Galanis showcased hiscreative prowess. Here, the depiction of the child’s faceforeshadows the sorrow of his early loss -who cannot see it?’Athanassopoulos, pp. 50-51.
See A. Bond and J. Woodall,
Self Portrait -Renaissance to Contemporary
, National Portrait Gallery, London2005.
See A. Charalambidis, Greek Portraiture of the 19thCentury [in Greek], dissertation thesis, Thessaloniki 1976, p.121.
A. Kouria,
The Child in Modern Greek Art
(1833-1922) [in Greek], Dodoni publ., Athens-Yannina, 1985, pp.130-132.
Michalis Economou
[in Greek], Adampubl., Athens 2001, pp. 125
E. Bafouni - N. Melas,
Georgios Stringos
[inGreek], Institute for the Study of Local History and the History ofBusiness Enterprises publ., Piraeus, 2006, pp. 17-21.
Arcadja LogoServices
Sponsored Auctions

Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr