Nikiforos LYTRAS (Greek, 1832 – 1904)

THE BRIDE TO BE, 1874-5 oil on canvas 74 x 58 cm 83 x 65 cm (with frame) Provenance Bought directly from the artist prior to 1877 Sold to the collector Iacovos Georgiades from the Christie's London, Sale on 2 October 1981, Lot 147 Sold to the present owner at Cypria Auctions, Nicosia Sale on 29 April 2010, Lot 25 This work is believed by Dr Nelly Misirli to be the first of two known versions of the work The Bride to Be. The second was sold at Christie's, London (p.1) The authenticity of the work was confirmed in a letter to Iacovos Georgiades from Dr. Nelly Misirli dated 6 March 2002 stating that the painting was executed in Munich between 1874-1875. Literature LYTRAS, Nelly Misirli, Nikiforos Lytras, 1832 – 1904, National Bank of Greece, Athens 2009 (illustrated p. 114) NOTES Excerpt from Dr. Nelly Misirli's book (pages 114-116) Another artwork that has a similar style, theme, and period to Orphani (the Orphan Girl) is The Bride to be to Be or the Betrothed (catalogue no. 47), which must have been created during Lytras' second visit to Munich. The information at the back of the painting, written in German by the owner and dated August 19, 1877, states "I personally bought this painting from the artist N. Lytras for 300 DM and after my death, I bequeath it to my daughter Effi." This suggests that the painting was created in Munich and sold by the artist himself to the German owner, Idar Moser, who signed the note. The same composition, with some differences, was exhibited in the Panhellenic exhibition at Zappeion in 1888 and was published in the monograph of Lytras by Xenophon Sochos (catalogue no. 109). This indicates that the artwork was a repetition of the first conception, which had been sold many years earlier (catalogue no. 48)...... Nelly Misirli LYTRAS National Bank of Greece, 2009 Athens --------------------------------------------------------- Evaluation of Nikiforos Lytras' Painting Using Scientific Diagnostic Methods Scientific microscopic observation, along with images derived from IR, IRT, and IRFC photography, help reveal significant elements that are not visible in a painting. One of the two important paintings (74 x 58 cm) titled "THE BRIDE TO BE" or "THE ARAVONIASMENI" by Nikiforos Lytras has undergone these scientific diagnostic methods. Initially, these examinations indicated that the work is in very good condition. The ultraviolet radiation examinations showed that the painting had some minor damage and therefore had undergone restoration a few decades ago, which included relining the canvas and minor retouching interventions. Regarding the depicted person, and specifically the hand, no engagement ring was visible on the finger where this ring is usually found. At this specific point, the minor damage did not extend to the entire finger but only to part of it. Unfortunately, during the colour restoration interventions, the conservator completely covered the finger and a significant portion of the ring, which had not been damaged. Thus, for decades, this very important work has been known to us with the finger of "THE ARAVONIASMENI" without an engagement ring. Infrared photography at this point revealed that under the conservator’s retouching, a large portion of the ring remains as originally placed on the finger by the painter Nikiforos Lytras. Additionally, infrared photography around the head of "THE ARAVONIASMENI" revealed important information regarding the painting execution of the head. It appears that the painter, after finishing the head, decided it should be smaller and thus made this change. Therefore, the infrared photograph reveals this alteration, which is not visible to the naked eye since the painter covered it with the colors of the room's wall. Furthermore, the identification of the painter's signature is difficult with the naked eye. The faded inscription of the painter is located at the very bottom right corner in black, among older retouches that covered micro-damages in this area, resulting in some letters being missing due to damage and others being illegible due to overlays. The letters "L" and "Y" appear very faint and punctuated by damage, while the following letters "TRAS" are somewhat more discernible. The letter "N," which the painter usually placed at the beginning, is entirely absent due to more intense damage in that area. The full “Scientific Analysis Report” can be supplied on request.