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Preisdatenbank abonnierenTwenty-two 78's. DJANGO REINHARDT and THE QUINTET OF THE HOT CLUB OF FRANCE. 'Swing 39/Jeepers Creepers,' F 7027, some light scratches, Decca; 'Improvisation,' B 8587, scratches to disc, His Masters Voice; With twenty other 78's including artists the Ink Spots, Evelyn Knight, Edmund Ros and His Rhumba Band, Marlene Dietrich, Orquesta Tipica Bachicha etc. (22)
'ROCK/POP/FOLK/ELECTRONIC' Vinyls. Over one hundred and twenty 12" albums, including some superb rare 1st pressings. The collection also includes Elton John - Jump Up! (12" vinyl, HISPD 127), containing inside the gatefold cover two concert tickets for his live show at the Hammersmith Odeon, London, 22/12/1982.Artists and include; Blondie, Lou Reed, The Police, Elton John, King Crimson, Deep Purple. The Moody Blues, Supertramp, Phil Collins, Electric Light Orchestra, Boston, Foreigner, Carole King, Stephen Bishop, George Benson, Godspell, Joni Mitchell, The Three Degrees, Biddu Orchestra, Elkie Brooks, REO Speedwagon, The Hollies, Simon and Garfunkel, The Beach Boys, Emerson Lake and Palmer, U2, WIngs, Justin Hayward, Level 42, Demis Roussos, Heart, Jimmy Somerville, Katrina and The Waves, Donna Summer, Luther Vandross, Barbara Streisand, Stevie Wonders, Carpenters, Sade, The Stylistics, Genesis, Rod Stewart, Sydney Youngblood, Wet Wet Wet, Spandau Ballet, Booker T. and The M.G.s, The Nice, Bread, Santana, Rick Astley, Jackson Browne, Fleetwood Mac, Steve Winwood, Neil Diamond, Dire Straits, The Chi-Lites, Gerry Rafferty. Tavares, Christopher Cross, O'Jays, Leo Sayer, Jean Michel Jarre, Sad Cafe.The condition is generally VG.Additional photographs have been added.
STATUS QUO. Twenty-seven 12" vinyl albums and singles. 'Status Quo,' 9102 001, De Luxe edition, lyric sheet, light scratches to vg disc, 1974; 'In The Army Now,' VERH 36, vg, 1986; 'Down the Dustpipe,' GH 604, g to vg, 1975; 'Hello,' 6360 098, vg disc, 1973; 'Back to Back,' VERH 10, vg, 1982; 'Status Quo,' HMA 260, vg disc, 1978; '1982,' 6302 189, inner sleave, vg, 1982; 'Live!' 6641 580, double disc, gatefold, vg, 1976; with 19 others. (27)
A 2007 Gibson limited edition SG Special SG-3 electric guitar. One of only four hundred manufactured as part of Gibson's 'Guitar of the Week' series in 2007, the SG-3 features three single coil blade pickups.Made in USA,Finish: Ebony,includes the original combination hard case,S/N 021371XXX.The guitar is in very good condition with no signs of any damage or structural repair. There are only some very minor light scratches to the back of the body, these are barely noticeable and the only issues worth noting.The guitar has been played and tested. It is in great playing condition with no signs of any warping to the neck.
Hawkwind. A collection of eleven 12" albums. 'Doremi Fasol Latido,' UAG 29364, split seem to sleeve, poster, name label, vg disc, 1972; 'In Search of Space,' vg gate fold, name label to vg disc, 1971; 'The Space Ritual,' UAD 60038, rubbed gate fold, vg discs, 1973; 'Warrior on the Edge of Time,' UAG 29766, rubbed sleeve, some light scratches to disc, 1975; 'Hawkind,' LBS 83348, vg gate fold, two light scratches to a vg disc, 1970; With six other Hawkwind 12" albums. (11)
Jazz. Sixteen 12" long players. PHAROAH SANDERS. 'Izipho Zam (My Gifts),' SES 19733, damp and split seem to sleeve, vg disc, Strata East, 1973; MANU DIBANGO. 'Makossa Man,' SD 7276, loss to sleeve, vg disc, 1973; ROLAND KIRK. 'Introducing....,' LPS 669, rubbed sleeve, light scratches to disc, 1960; JOHN COLTRANE. 'Exspression,' JAS 73, staining to sleeve, vg sleeve, 1967; 'A Love Supreme,' MCL 1648, rubbed sleeve, vg disc, 1965; With eleven other long players including Miles Davis, John Handy, Ernie Watts, Wes Montgomery, Charles Lloyd and Stan Getz etc. (16)
The Beatles and solo work. Eleven 12" vinyl's The BEATLES. 'Sgt Peppers Lonely Hearts Club Band,' PCS 7027, slight sun bleaching to an otherwise vg gatefold, vg disc, with 'cut-out' sheet, 1967; 'Revolver,' PCS 7009, rubbed sleeve, scratches to disc, 1966; PAUL McCARTNEY. 'Flowers in the Dirt. Word Tour Pack,' PCSD 106, tears and nibbles to edge of gatefold, light scratches to disc, posters, postcards and 7" single, 1989; JOHN LENNON. 'Imagine,' 1A 062-04914, sun bleaching to sleeve, vg disc, 1971; With six other works including 'Abbey Road' (disc only), four solo McCartneys and another Lennon. (11)
Stage and Lighting equipment. Comprising four iSolution iMove moving head lights, a QTX LED Mushroom light, a Chauvet Sllimpar tri-12 PAR can, and an Equinox Blaze Moonflower light. Together with a Stairville Hz-200 compact hazer and a Soundlab foam machine, both of which include fluid. (10) (Photographs to follow)Previously part of a sound system used in a Newquay-based nightclub.Note: One of the move lights has failed its PAT test.
The Stranglers. Nine 12" albums and four 7" singles. 'The Raven,' UAG 30262, slight rubbing to edges of sleeve, vg disc, 1979; 'Live (X Cert),' UAG 30224, some wear to sleeve, scratches to disc, 1979; 'Aural Sculpture,' EPC 26220, split in slim, rubbed and worn sleeve, scratches to disc, 1984; 'Stanglers IV,' UAG 30045, slight rubbing to sleeve, scratches to disc, 1977; 'Feline,' EPC 25237, rubbed edges to sleeve, light scratches to an otherwise vg disc, 1982; 'Black and White,' UAK 30222, staining to front of sleeve, split seem, light scratches to disc, 1978; 'No More Heroes,' UAG 30200, vg sleeve, vg disc, 1977; 'Dreamtime,' EPC 26648B, rubbed sleeve, vg disc, 1986; 'The Collection 1977-1982,' rubbed sleeve, scratches to disc, 1982; With four 7" singles including Strange Little Girl (x2), Duchess and Aural Sculpture. (13)
Jethro Tull. Seven 12" albums. 'This Was,' ILP 985 A, rubbed edges with some wear to edges of sleeve, light scratches to dic, 1968; 'Stand Up,' ILPS-9103, pop-up gatefold, split seem to gatefold with pop up, light scratches to disc, 1969; 'Songs From the Wood,' vg disc, 1977; 'Aqualung,' rubbed sleeve, scratched to disc, 1971; 'M. U. The Best of ....,' vg disc, 1976; 'Living in the Past,' CJT 2,' tape repairs to gatefold, light scratches to discs, 1972; 'Warchild,' CHR 1067-B, vg disc, 1974. (6)
Blue Oyster Cult. Seven 12" albums. 'Blue Oyster Cult,' S 64904, split seem to sleeve, vg disc, 1972; 'Secret Treaties,' CBS 32055, vg disc, 1974; 'The Revolution by Night,' CBS 25686, rubbed edges to sleeve, scratches to disc, 1983; 'Fire of Unknown Origin,' S CBS 85137, vg sleeve, vg disc, 1981; 'On Your Feet or On Your Knees,' vg sleeve, dics in need of a clean but otherwise good, 1975; 'Tyranny and Mutation,' S 65331, tape repairs to sleeve, light scratches to disc, 1973; 'Club Ninja,' CBS 26775, cg sleeve, vg disc, 1985; With a vg 'Thirteen Blue Magic Lane' by Blue Magic (ST-C-753428-MO). (8)
Rock and Pop. Twenty-nine 12" longplayers. JOHN & YOKO. 'Some Time in New York,' PCS 7162, markings to gatefold, vg discs, 1972; EMERSON LAKE & PALMER. 'Brian Salad Surgery,' K 53501, slight rubbing to gatefold, vg disc, 1973; ELTON JOHN. 'Elton John,' DJLPS 406, vg gatefold, a couple of light scratches to vg disc, 1970; CROSBY, STILLS & NASH. 'Crosby, Stills & Nash,' some light rubbing to gatefold, vg disc, 1969; PRINCE and the REVOLUTION. 'Parade,' 925 395-1, vg gatefold, vg disc, 1986; With twenty-four other 12" lp's including The Eurythmics, Bad Company, Richie Havens, U2, Sting, John Lennon, George Harrison, Rick Wakeman etc. (29)
Sun Records. Twenty-four mostly early first pressing US 7" singles. RAY HARRIS. 'Foolish Heart/Greenback Dollar, Watch and Chain,' 272, one scratch to an otherwise vg disc, 1957; VERNON TAYLOR. 'Sweet and Easy To Love/ Mystery Train,' U-367, some loss to lable, ligh scratches to disc, 1959; MALCOLM YELVINGTON. 'Just Rolling Along/ Drinkin' Wine Spodee-O-Dee,' U-134, vg disc to excellent, 1954; RAYBURN ANTHONY. 'There's No Tomorrow/Whose Gonna Shoe your Pretty Little Feet,' U-396, vg disc, 1960; With five other 'Sun Records' 7" singles. THE JESTERS. 'My Babe/ Cadillac Man,' U-367, white label DJ copy, vg disc, 1966; BILLY RILEY. 'Rock With Me Baby/Trouble Bound,' 245, ink scribble to label, vg disc, 1956; WARREN SMITH. 'Goodbye Mr. Love/Sweet, Sweet Girl,' U-342, vg disc, 1959; WADE & DICK. 'Don't Need Your Lovin Baby/Bop Bop Baby,' 269, vg disc, 1957; ERNIE CHAFFIN. 'Laughin' and Jokin/I'm Lonesome,' 275, vg disc, 1957; With fifteen other 'Sun Records' pressed 7", mostly all early US and in vg condition; SONNY BURGESS. 'Sweet Misery/ My Bucket's Got a Hole in It,' U-280, one faint scratch to an otherwise vg disc, 1957; 'Restless/Ain't Got a Thing,' U-238 vg+; 'We Wanna Boogie/Red Headed Woman,' U-198, vg disc, 1956; WARREN SMITH. 'Miss Froggie/So Long I'm Gone,' U-248, light scratches to an otherwise vg disc, 1957; 'I Fell in Love/I've Got Love if You Want It,' U-286, vg disc, 1957; 'Ubangi Stomp/Black Jack David,' SUN 11, Golden Treasure Series, re-issue; BILLY RILEY. 'Flyin Saucers Rock & Roll/I Want You Baby,' U-234, vg+ disc, 1957; 'Down by the Riverside/No Name Girl,' U-341, light scratches to an otherwise vg disc, ink scribble to label, 1959; RAY SMITH. 'Right Behind You Baby/So Young,' U-310, vg disc, 1958; 'Sail Away/Rockin' Bandit,' U-354, vg disc, 1959; RAY HARRIS. 'Where Did You Stay Last Night/Come on Little Mama,' U-200, vg+, 1956; MACK OWEN. 'Somebody Just Like You/Walkin' and Talkin', U-390, vg+, 1960; RUDY GRAYZELL. 'Judy/I Think You,' U-294, vg disc, 1958; JOHNNY POWERS. 'Waitin' For You/Me and My Rhythm Guitar,' 604, French re-issue, vg disc; BOBBY LEE TRAMMELL. 'Jenny Lee/It's All Your Fault,' Later re-issue, 1977. (24)
Comstock (twentieth century), pair of still lives with summer flowers, oil on panels, signed, 41 x 30cm each, in gilt foliate frames. (2)Condition Report: Generally very good condition overall, with very few condition issues aside from some light surface scratching and some inconsistency to the varnish in places.
Nineteenth-century Scottish School, Portrait of Sir John Andrew Cathcart, Fifth Baronet of Carleton (1810-1878), oil on canvas, unsigned, 125 x 99cm, framed (with the frame measuring 146 x 120cm).Condition Report: Painting is in good condition overall. It was relined in the 1960s, when it was also restored. The picture appears stable with no obvious signs of flaking. UV light examination reveals most prominent areas of restoration around the subject's face, with more limited restoration in other areas of the canvas.
Edward Wesson (British, 1910-1983), harbour scene with moored fishing vessels, oil on board, signed lower left, 40 x 56cm.Condition Report: Generally good condition overall. Some light surface scratches that may have been of the original compositional process. Some consistent areas of spotting to the paint surface, which, equally, may have been part of the original compositional process. Good condition overall, though, with colours still vivid.
§ Laurence Stephen Lowry (British, 1887-1976), 'The Harbour', lithograph in colours, signed in pencil to margin, from an edition of 850, published by Venture prints, bearing Fine Art Trade Guild blindstamp, image size 40 x 55cm, framed and glazed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.Condition Report: § Very good condition overall, with minimal wear aside from light foxing to the margins.
A Silver cigarette box Hallmarked Walker and Hall Sheffield 1910 engraved to top and front, to top with cypher for The Prince of Wales's Own. West Yorkshire Regiment. Size19 cm Wide x 10.5 cm deep x 6.5 cm high. And a tested silver cigarette case Approx. 3.25ozCondition Report: Some light dents to top.
After Jacques Barraband (French, 1767-1809), four hand-coloured engravings depicting exotic birds, framed and glazed as a set, frame size 66 x 48cm each. (4)Condition Report: Generally good condition overall, with some consistent light foxing across all sheets, as well as some wear and creasing in places.
Anton van Wouw (South African, 1862-1945)Skapu Player, 1907 inscribed, signed and dated 'Joh.burg/A van Wouw/1907.sculpt' (to the base); further inscribed 'G. Nisini Fuse/ Roma' (lower back)bronze37 x 30 x 26 cm (14 9/16 x 11 13/16 x 10 1/4 in) (including base)Footnotes:LiteratureDuffey, A.E., Anton van Wouw: The Smaller Works, (Pretoria, 2008), another edition illustrated pp. 59-60The Skapu Player was first exhibited in van Wouw's Johannesburg exhibition in 1908. The work 'shows a young African man sitting cross-legged on a rock, playing his 'sekgapa' with a fiddlestick, while he absent-mindedly listens to his monotonous tune. His upper body is naked; he is only wearing wide trousers and is barefoot. The contrast between the sheen of the skin of the nude upper part of the body and the coarse texture of the flap trousers is heightened by the ingenious use of light and dark brown patinas.' (A.E.Duffy,2008:pp. 59-60)Working from life, Van Wouw created varied naturalistic forms performing tasks and activities of natural life such as hunting and, in instance, music in his bronze works. Assisted by Giovanni Nisini's dexterous European foundry, 'Nisini', Van Wouw was able to achieve the detailed and meticulously executed sensitivity of the human body. The present lot demonstrates very fine modelling, particularly evident in the fiddlestick in the figure's right hand, the way the long bow of the skapu is finely fixed to the calabash, and the detailing in the knot securing the trousers, all typical of the Roman castings of The Skapu Player. Indeed, the present lot can be established as owning the qualities that Duffy prescribes as 'minute detailing but also and inner power and monumentality' that occupies the sculptor's opus.(A.E.Duffy,2008:p. 77)BibliographyA. E. Duffey, Anton van Wouw: The Smaller Works, (Pretoria, 2008)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Yusuf Adebayo Cameron Grillo (Nigerian, 1934-2021)Blind Minstrel inscribed, signed, titled and dated '15/BLIND MINSTREL/OIL ON BOARD/by/Y. GRILLO/ 1966' (verso)oil on board90 x 53.5cm (35 7/16 x 21 1/16in).(framed)Footnotes:ProvenanceAcquired in Lagos in the 1960's;A private collection. ExhibitedLagos, Goethe-Institute, (9-31 December 1966), 15.London, Commonwealth Institute Art Gallery, Contemporary Nigerian Art, (20th June - 21st July 1968), 62.LiteratureIkpakronyi, Simon O., Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006), pp. 65-66. (illustrated)Commonwealth Institute Art Gallery, Contemporary Nigerian Art, An exhibition assembled by the Society of Nigerian Artists, (London: Commonwealth Institute Art Gallery, 1968) (illustrated) Simon O. Ikpakronyi identifies the subject of this work as 'Kokoro', a blind musician who became well known in Lagos. Ikpakronyi documents him as travelling around neighbourhoods, knocking on doors and collecting money. With some people paying him lots of money in order to support him, it can be concluded that Kokoro became a familiar face of the community. Remembered today in music circles Kokoro, who became blind from the age of 10, left a legacy in Yoruba music circles, particularly for being an early pioneer for juju, a popular music genre, singing about urban life, love, poverty, and conflict.It could be concluded that, in line with the artist's own love of music and interest in musical instruments, Grillo saw KoKoro as an appropriate subject given his fascination with social documentation, as he said:'I used to go close, watch and join the music, look at the dancers and join them too. They made a very, very strong impression, an indelible impression. And what interests me most is what the drummers do when they are not actually playing. That is, when they have an interval at which time they try to re-tune their instruments, that is, the drum skins, which they place over a small fire. They wold get some rough paper together, light it and place the drum over it so that the skin would be taut. The fact is that when they have been drumming, the skin goes a little slack, so the sound is not what it should be. Hence, they do all that just to warm it and make it taut, to bring back the desired sound. These are some of the things in traditional drumming that interest me most.' (Professor Yusuf Grillo, 13th November 2005). Indeed, the role of the male drummer is a recurring theme within the artist's work as seen in 'Drummers and Dancers' 1964, throughout his career to Lead Drummer (2003-09). In respect to the prior mentioned paintings, a commonality is detectable within these works in that the drummers are usually male figures in groups. Thus, the present work is rare example under this subject matter as it is a portrait of a strikingly identifiable character within the artist's body of work. Grillo's seemingly preferential use of the drum above other instruments may be due to its rhythmic interplay as with Yoruba language, hence why the traditional drum iya ilu translates to the 'talking drum'. Therefore, the artist's patronage to his Yoruba heritage may also indicate his desire to include a musical and performative element of specifically the drum to this work. Furthermore, in keeping with the iconic blue palette that distinguishes the artist from his contemporaries, Blind Minstrel holds a prominent and important position in the artist's oeuvre. A fantastic example of his geometrically compositional works, where by planes of blue hues assemble to create an image, the present work is indicative of the dynamism that is catalysed by Grillo's love of mathematics and art. BibliographySimon O. Ikpakronyi, Master of Masters, Yusuf Grillo: His Life and Works, ed. Paul Chike Dike & Patricia Oyelola, (Nigeria: National Gallery of Art, 2006)Toyin Falola, Culture and customs of Nigeria, (London: Greenwood Press, 2001)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Gerard Sekoto (South African, 1913-1993)Donkeys signed 'G SEKOTO' (bottom right); bears 'South African Association of Art' label (verso)oil on canvas49.4 x 59.8cm (19 7/16 x 23 9/16in).(framed)Footnotes:ProvenanceThe collection of South African Railways and Harbours;Mrs M. G. Morgenroth, South Africa;A private collection.Exhibited Pretoria, Christi's Gallery, Sekoto: Solo Exhibition, 25 April-12 May 1947, no. 7.London, Tate Gallery, Exhibition of South African Art Abroad, 20 September 1948.Amsterdam, Stedelijk Museum, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 10 December 1948.Paris, Musée Galerie, Overseas Exhibition of South African Art, February 1949.Ottawa, National Gallery of Canada, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, with a Prelude of Historical Paintings, 21 April 1949.Washington D. C., National Gallery of Art, 31 July 1949.Cape Town, South African Association of Arts, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 1948-49, no. 102.LiteratureLindop, B., Gerard Sekoto (Randburg, SA, 1988), (illustrated) bears the title 'Man in a Donkey Cart', pp. 176-177. A label on the back of this important South African painting by Gerard Sekoto formally identifies it as Donkeys. The Donkeys was listed as #7 at Sekoto's solo exhibition at Christi's Gallery, Pretoria, between 25 April and 12 May 1947, which suggests that it was painted shortly before. The artist noted that he made successful sales at both this exhibition and the one in July-August 1947 at the Gainsborough Gallery, Johannesburg, so well, in fact, that he was able to fund his forthcoming trip to Paris and self-imposed exile.At, or soon after, the Christi's exhibition, Donkeys was acquired by the South African Railways and Harbours, the collection of which is recorded on the same label on the reverse of the painting which further states that it lent the work to the 'Exhibition of South African Art Abroad' in the following year. The fact that the South African Railways and Harbours also bought two works at this exact time from Irma Stern suggests that Donkeys was destined (as the Stern works) for the same proposed South African Railways Hotel. The 'Exhibition of South African Art Abroad', organised by the South African Association of Arts, and sponsored by the South African Government, opened at the Tate Gallery, London, in September 1948 and travelled to several European and North American countries before returning to Cape Town in 1949-50. Sekoto was represented by four works in this show, Sophia Town, Evening, the much-celebrated Sixpence a Door, Three Picanins, and Donkeys. The painting is listed in the exhibition catalogue, under the slightly different title 'Exhibition of Contemporary South African Paintings, Drawings and Sculpture, Cape Town', 1948-49, number 102. Donkeys was de-accessioned by the South African Railways and Harbours when the 'palatial' hotel project was abandoned, resulting in the present owner's family acquiring the work at auction in Johannesburg in 1954-55.Sekoto painted Donkeys in Eastwood, an African township outside Pretoria, where the artist spent almost two years living with his mother, stepfather, and other family members before leaving for Europe in September 1947. This period is generally understood to be the most productive and successful period of his life. As well as several portraits of family members, Sekoto made remarkable still lifes such as Mine Boy and many paintings of Eastwood township life inter alia The Kitchen Table, a domestic interior (sold by Bonhams in 2014) and Seated at Table. Sixpence a Door represents a street performance; and Gossip at Eastwood and Raw Light (also sold at Bonhams in 2019) represent social interactions on the streets of the township. The Donkey Cart and the present work, Donkeys, celebrate an old-fashioned, even picturesque mode of transport.The complete absence of white people from these scenes is testimony to the segregation of South African communities that was soon to be brutally reinforced under Apartheid. But Sekoto, like George Pemba in the Eastern Cape, represents a harmonious and self-contained social order. Both artists, of course, depended on a white clientele which would have doubtless preferred a positive over a negative view of South African township life. But it has been argued that, in context, these works constitute a form of protest in that not only do they replace the primitivizing stereotype of rural African people that was still popular with white artists such as Irma Stern with a contemporary view of urban black life, but they also tend 'to humanise the world of the anonymous masses for the white viewer'. However, there can be no doubt that Sekoto and Pemba took both pride and pleasure in representing the communities where they lived. Sekoto's account of the origin of Donkeys, for example, is entirely positive:'At Eastwood I was relaxed. I could work hard at my painting. I was not worried by all the people and things around me as I had been in the big cities. The people in Eastwood did not mind when I looked at them. In fact, some people were happy to model for me.There was a man who sold water to the people in the township. He had a tank of water, which was pulled by donkeys. He was very happy for me to make sketches of him. Later I painted a picture of him.'Within a few years, Eastwood, like Sophia Town in Johannesburg, and District 6 in Cape Town, where Sekoto had previously lived and worked, was demolished by Apartheid urban planners. The present work represents the quality of life, no doubt impoverished but certainly dignified and vital, that was annihilated in the process.We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyBarbara Lindop, Gerard Sekoto (Johannesburg: Dictum Publishing, 1988), pp.24-26.Irma Stern's Cashbook, National Library of South Africa, Cape Town, MSC 31, 3, p.89.The Cape Times, 'Pictures for South African Railways Hotel', (13 March 1947)Lize van Robbroeck, ''That Magnificent Generation': Tradition and modernity in the lives, art and politics of the first modern black painters', in, Visual Century: South African Art in Context, Volume 1, 1907-1948, ed. Jillian Carman (Johannesburg: Wits University Press, 2011), pp. 114-133.Gerard Sekoto, My Life and Work, (Cape Town, Claremont: Viva Books, 1995), p. 57.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Maggie (Maria Magdalena) Laubser (South African, 1886-1973)Indian Girl signed 'M.Laubser' (lower left)oil on canvas on board 60 x 56cm (23 5/8 x 22 1/16in).(framed)Footnotes:ProvenanceMr G de Leeuw, South Africa;Dr T A Redelinghuys, South Africa;A private collection, South Africa.ExhibitedMacFayden Hall, Pretoria, Maggie Laubser, September 1939.LiteratureBouman, A.C., Huisgenoot: 1 January 1943: 7. (illustrated)Bouman, A.C., Forum 2(2): 26 August 1939: 8. (illustrated)Mariais, D., Maggie Laubser, her paintings, drawings and graphics (Johannesburg and Cape Town: Perskor, 1994) (illustrated) p, 243.Bouman, A.C., Painters of South Africa, (Cape Town: De Bussy, 1949), p, 80. (illustrated)With the present work featured in her 1939 solo exhibition at MacFayden Hall following a number of previous successful exhibitions and her recent election to the New Group founded by Gregoire Boonzaier, Maggie Laubser had defied her previous critical reception and prevailed to leave an acclaimed artistic legacy.Beginning her career as a landscape artist, Maggie Laubser's development into portraiture did not eradicate her use of environmental motifs given the addition of plants that frame the sitter in the present lot. This compositional theme of a background of Fauna was ever present in the portraits executed by the artist during her travellers to KwaZulu Natal in 1936. It was during this trip that the artists style changed, stepping away from naturalist depictions and towards works that had dream-like almost conceptually surrealist qualities, such as the present lot. This romanticised work featured portraits of women set against a background of exotic plants native to the area, displaying the sitter's relationship to their national context contributing to the observers understanding of the identity of the subjects.'Her most exotic departure was a painting trip towards the middle of 1936 to Natal where she recorded with romantic lyricism the shy, wide-eyed wonder of young Indian girls.' Johan van Rooyen, 'Maggie Laubser', (Cape Town and Johannesburg: South African Art Library, Strike Publishers, 1974), p.17)The tranquillity in the current painting could be argued to reflect qualities of German Expressionism, perhaps inspiring Laubser during her travels throughout Germany, specifically Berlin from 1922 to 1924. Perhaps most influenced by Karl Schmidt-Rottluff and the Brücke movement, who characterised their style by non-traditional uses of colour, we can see the presence of a bright palette and simplified form given the broad use of brushstrokes within the present work. Coherent with her style of flattening her works or eradicating naturalistic approaches to portraiture, Laubser aimed at creating idealised works motivated by aesthetic beauty.'Whatever the object on my canvas, it must be a vision of that object, whether one recognises it or not; or whether it has that misty form in dreams, it must only represent the final spiritual shape of the object'(Laubser: What I remember, 1963:4)The presence of both a human and plant correlate with the artist's Christian Scientist beliefs and holding respect for everything that lives. Beyond aesthetic motifs, Laubser's treatment of colour, specifically that of the colour yellow, could also be credited to her spiritual beliefs. These religious convictions informed her use of yellow to signify spiritual intellect. Furthermore, the presence of light and dark is formulated by the addition of the colour yellow reflected on the left side of the sitter, applied to both her skin and clothes. Marking out the following quotation from The Human Aura and the Significance of Colour left in her estate, it is clear that Laubser must have taken great influence from these passage:'The brightest, clearest yellow betokens the highest and purest type of intellect...The lighter shades of yellow are quieting in the extreme to an overwrought nervous condition, and people who generate aura of that hue accomplish often a great deal in the direction of healing by their quiet regulating presence.' (W.J. Colville, The Human Aura and the Significance of Colour, (Chicago: Occult Publishing, 1909), p. 35).This present work, indicative of the artist's portraits between the 1920's to the 1930's, is stylistic of that time in her broad brushstrokes and vivacious palette, reflective of her appreciation for the richness of life and spiritualistic views on nature stemming from her dedicated religious beliefs and influence from her exploration expeditions.Bibliography Johan van Rooyen, Maggie Laubser, (Cape Town and Johannesburg: South African Art Library, Strike Publishers, 1974), p. 17.Elizabeth Delmot, South African National Gallery, Maggie Laubser- Early work from the silberberg collection, (Cape Town: December 1987)W.J. Colville, The Human Aura and the Significance of Colour, (Chicago: Occult Publishing, 1909)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Irma Stern (South African, 1894-1966)'Palm Trees', Zanzibar signed and dated 'Irma Stern/1945' (lower left)oil on canvas 69.8 x 69cm (27 1/2 x 27 3/16in).within artist's original Zanzibar frame.Footnotes:ProvenanceAcquired at the Argus Gallery in 1946 by Mrs Schutz;By direct descent to Mrs Peta Schutz;A private collection.ExhibitedCape Town, Argus Gallery, 1946.In a review of her 1946 exhibition at the Argus Gallery, Cape Town, of which the present work was a feature, the Cape Times review began with the emphatic statement:Rarely in Cape Town's art history has there been an exhibition of contemporary South African painting of such importance.(P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p. 14).History, of course, has tended to confirm the significance of Irma Stern's work from this trip. The artist herself noted 'the first class success' of the show in a letter to her Johannesburg friends, the Feldmans, on March 10 1946: 'Having about 3-400 people in daily and just when I want peace at home – some more to come and buy from studio'. Previously she had written from Zanzibar that 'I have had a most successful time here'. And she wrote that she was 'conquering new ground for my work and development': she even anticipated that some people would be 'shocked to death about my work', presumably indicating the 'vigorous brush work and lavish pigment' that one enthusiastic reviewer applauded in her landscapes and figure studies at this time (see below). In fact, this 'development' proved to be the foundation of the aesthetic achievement of her Zanzibar works. While the sense of increased proximity – or presence - of Stern's figures distinguish the work of her second Zanzibar trip from the first, 'Palm Trees', 'Zanzibar Garden', 'Seascape', and a few other works, introduce a new planarity into her method of painting. In 'Palm Trees', the tall forms of the coconut palms stretch from the bottom to the top of the format focussing attention on the very surface of the work where impasto paint and broken lines flicker in the light. Similarly, in 'Lelemama Wedding Dance' (sold at Bonhams in 2021), also from her second visit to Zanzibar, Stern concentrates attention on the picture plane to suggest the dissolution of form into a sense of shimmering movement in the textiles and jewels of the dancers. This attention to surface is one of the principal concerns of Modernism, from the Impressionists to the Abstract Expressionists: compare the 'Palm Trees' with Monet's 'Poplars'. Although Irma Stern rejected abstraction with contempt, her focus on surface in these works amounted to a neglect of both space and topography that is actually a form of abstraction. On this basis, within a short time, Stern was to reject the sheer physicality of subject-matter in a search for a spiritual or symbolic interpretation of the world. Family tradition held that this beautiful painting represents a Congo Landscape and that it was acquired at an exhibition at the Argus Gallery, Cape Town, in 1946 or 1947. The title of the work has been incorporated into the major monograph on Irma Stern, but the difference in date between the two exhibitions is crucial. The 1947 exhibition was indeed largely devoted to work that Irma Stern had made during her second expedition to the Democratic Republic of the Congo between April and June 1946. But the earlier exhibition in March 1946 consisted mostly of work done by Stern on her extended second trip to Zanzibar between late July and the end of October 1945. In fact, Stern's Cashbook for March 1946 records that she sold #5 Palm trees, oil from this exhibition to the previous owner's family for £70 proving beyond doubt that the work was made in Zanzibar. Moreover, a review in the Cape Times, after praising the splendid figure studies that constituted the major part of the exhibition, confirms the origin of this painting:Vigorous brush work and lavish pigment account for the effect of shimmering heat in 'Zanzibar Garden' and 'Palms' and reflect the exuberance of the local flora in the still life subjects. (P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p.14.)Significantly, the two works picked out in this excerpt are very similar in size and have almost identical frames. Although Stern made little reference to the Zanzibar landscape in either her book Zanzibar (1948) or her correspondence with the Feldmans, Palm Trees was certainly painted on the island. We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyP.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946)Marion Arnold, Irma Stern, A Feast for the Eye, (Vlaeberg: Fernwood Press, 1995), pp. 81- 84.National Library of South Africa, Cape Town, MSC 31,3, Cashbook, p.83.Irma Stern, Zanzibar, (Pretoria: J.L. Van Schaik, 1948) Sandra Klopper, Irma Stern, Are you Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp. 129-130.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
DETMOLD, Edward J. (illustrator). The Fables of Aesop. London: Hodder & Stoughton, 1909. Limited edition, this being number 110 of 750 copies signed by the illustrator, 4to (308 x 250mm.) 25 tipped-in colour plates by Detmold. (Light browning to endpapers, toning, small corner crease to one plate, occasional finger-mark.) Original cream cloth with eagle motif in gilt to upper cover, t.e.g. (browning to spine, some finger-marks to lower cover), slipcase (worn).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
BINDINGS. - Edward George Earle Lytton BULWER-LYTTON. [The Works.] London: George Routledge & Sons, 1877-1878. 26 vols., 8vo (215 x 137mm.) (Toning, occasional light spotting.) Near contemporary red half morocco over marbled paper-covered boards, gilt lettering to spines, t.e.g. (light rubbing, occasional scuffing) (26).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
MANUSCRIPT. [An apothecary's hand-written pharmacopeia. N.p.: circa early 19th century-late 19th century.] 228pp., manuscript, 8vo (178 x 113mm.) 26pp. unnumbered of tabulated index, 202pp. of chemical recipes and solutions used by a working apothecary in Chesterfield, and with additions and amendments throughout the 19th century. (Soiling, spillage and finger-marks throughout.) Contemporary calf (scuffing, light rubbing). Note: contains recipes for medicating both humans and animals ('diarrhoea in calves', 'pigs powders', 'infants carminative mixture', 'whooping cough', various remedies for 'toothache' and the overall less worrying 'hair oil scent'), as well mixtures for polishing wood. Provenance: George Sampson, chemist (stamp to initial blank); F.W. Dutton, chemist (stamp to initial blank).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
HERBAL. - John GERARD. The Herball or Generall Historie of Plantes… very much enlarged and amended by Thomas Johnson. London: Adam Islip, Joice Norton and Richard Whitakers, 1636. Third edition, folio signed in 6s (331 x 214mm.) Engraved architectural title by J. Payne, numerous botanical woodcut illustrations throughout, woodcut initials, 'Appendix' to rear, indices for both Latin and English terms, 'The Table of Vertues' to rear and last leaf 'An Advertisement to the Readers' being Bbbbbbb5. (Light spotting and browning throughout, occasional minor soiling, part of p.491 replaced in facsimile, title laid-down, marginal repairs to dedication leaf and 'An advertisement to the Reader' with some loss of text to latter, blanks replaced.) 18th century reversed calf, red morocco lettering piece to the spine (rebacked in reversed calf, corners repaired, staining and scuffing to covers). Provenance: George Gill (ink name rear pastedown); S.L. Nussey, Potternewton Hall (name-plate to the front pastedown).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
WAUGH, Evelyn. Scoop. London: Chapman & Hall Ltd., 1933. First edition, 8vo (185 x 120mm.) (Toning, light spotting to preliminaries.) Original snakeskin patterned cloth (lightly rubbed spine ends). - And a further eight volumes by Evelyn Waugh, all first editions (except 'Decline and Fall', fifth impression, 1930, 8vo) (9).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
[BROWN, Thomas.] Brighton, Or, The Steyne. A Satirical Novel. London: for the Author, 1818. 3 vols., second edition, 12mo (194 x 111mm.) Half-titles. (Light spotting throughout, stamps verso titles, occasional minor soiling.) 20th century green half morocco (endpapers replaced, reference labels to base of spines). Provenance: Worthing Library (bookplates to front pastedowns, stamps verso title-pages). - And a further thirteen volumes, mostly private press editions (including E.B. Browning's 'Sonnets From the Portuguese', 1897, small 4to, and Robert Gibbings' 'The 7th Man, A True Cannibal Tale of the South Sea Islands', 1930, 8vo) (14).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
RACKHAM, Arthur (illustrator). - Thomas MALORY. The Romance of King Arthur and His Knights of the Round Table…abridged by Alfred W. Pollard. New York: The Macmillan Company, 1917. 4to (282 x 117mm.) 16 mounted colour plates with captioned tissue-guards. (Toning, light spotting to preliminaries and occasionally within.) Original white morocco, pictorial gilt to upper cover (surface loss to spine, rubbing to extremities). - And a further six volumes illustrated by Rackham (including 'Little Brother & Little Sister and Other Tales' by the Brothers Grimm, [1917], 4to) (7).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
COOKERY. - E. SMITH. The Compleat Housewife: or, Accomplish'd Gentlewoman's Companion: Being a Collection of Upwards of Five Hundred of the most approved Receipts. London: J. and J. Pemberton, 1736. Seventh edition, 8vo (199 x 118mm.) A calligraphic name-plate in manuscript to the front pastedown. (Lacking all folding plates, lacking leaf A2, occasional spotting and browning.) Contemporary calf, blind-tooled, a later red morocco lettering piece to the spine (light rubbing). Provenance: Henrietta Williams (name-plate in ink to the front pastedown); Elizabeth Nicholson (ink name inscribed to initial blank).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
[BORDELON, Laurent.] Les Tours de Maitre Gonin, Enrichis de Figures en Taille-douce. Anvers: Francois Huyssens, 1714. 8vo (159 x 91mm.) 2 parts in 1, separate title and pagination, 12 engraved plates. (Browning, occasional spotting, lacking half-title and initial blank.) Contemporary calf, later red morocco lettering piece to the spine (light rubbing). Provenance: 'A.H.' (red morocco and gilt plate mounted to the front pastedown).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
CRUNDEN, John. Convenient and Ornamental Architecture, Consisting of Original Designs, for Plans, Elevations, and Sections: Beginning with the Farm House, and Regularly ascending to the most grand and magnificent Villa. London: for the author and W. Webley, 1770. 4to (267 x 172mm.) 4pp. publisher's catalogue after 'Preface', 26pp. 'Explanation of the Plates', 57 engraved plates by Isaac Taylor numbered 1-70, including 14 folding. (Spotting to title-page and pastedowns, occasional browning.) Contemporary calf, red morocco lettering piece to the spine (inner hinge weakening, light rubbing). Provenance: George de Ligne Gregory, High Sheriff of Nottinghamshire (armorial bookplate to the front pastedown); John Fowler (ink name to front pastedown). - And a further six volumes (including the plate volume of Peter Nicholson's 'The New Practical Builder and Workman's Companion', [1823], 4to) (7); the property of Donald Church.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
MILNE, A.A. Now We Are Six. London: Methuen & Co. Ltd., 1927. First edition, first impression, 8vo (189 x 120mm.) Numerous illustrations by E.H. Shepard. (Toning, offsetting to half-title and last leaf, minor spotting to fore-edge.) Original red cloth, pictorial gilt, t.e.g. (lightly bumped spine ends), dust-jacket (browning to spine panel, light rubbing to extremities).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
HERON-ALLEN, Edward. Selsey Bill: Historic and Prehistoric. London: Duckworth & Co., 1911. First edition, signed by the author, 4to (307 x 236mm.) 3 folding maps in pocket to rear, numerous plates. (Light browning, labels to pastedowns and stamps verso the title-page, scattered spotting.) Original cream buckram, paper label to spine (minor soiling to covers, small area of loss to cloth of lower cover). Provenance: Worthing Public Library (bookplate to the front pastedown).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
BOWDLER, Thomas (editor). The Family Shakespeare… in which nothing is added to the original text; but those words and expressions are omitted which cannot with propriety be read aloud in a family. London: Longman, Hurst, Rees, Orme and Brown, 1823. 8 vols., third edition, signed by the editor, 8vo (214 x 131mm.) (Toning, occasional light spotting.) Near contemporary red calf, two black morocco lettering pieces to the spine, gilt borders and blind-stamped emblem to covers, gilt turn-ins (some surface loss to covers, rubbing to extremities, sunning to spines). Note: signed 'from the author' but it was Bowdler's sister Henrietta Maria Bowdler who did most of the editing. Provenance: E. Hardwick (ink inscribed on the initial blank); the property of Michael Godfrey (8).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
WILDE, Oscar. De Profundis. London: Methuen and Co., 1905. First edition, first impression, 8vo (189 x 121mm.) 40pp. publisher's catalogue to rear dated March 1905. (Spotting to front and rear leaves.) Original blue cloth, gilt ruled, t.e.g. (mark to upper cover, light rubbing.) Provenance: Viscount Birkenhead (bookplate to the front pastedown). - And a second edition of the same volume (2).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
ART DECO. - Claude LINOSSIER (illustrator) and Maurice de GUERIN. Le Centaure. Lyon: Audin pour Le Cercle Gryphe, 1929. Limited edition of 133 copies only, this being unnumbered and out-of-series, 4to (282 x 229mm.) 73 woodcuts by Phillipe-Charles Burnot after designs by Claude Linossier in red and black, many enhanced with silver. (Spotting to the first quire, toning.) Original card covers, unbound as issued (light rubbing to extremities). Note: the first book published by the Le Cercle Gryphe and the only book illustrated by the Art Deco coppersmith Claude Linossier.Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
DETMOLD, Edward J. (illustrator). - Maurice MAETERLINCK. The Life of the Bee. London: George Allen & Co. Ltd., 1912. Reprint, 4to (177 x 217mm.) 13 mounted colour plates. (Toning, occasional light spotting, marginal tear to plate of 'The Old Bee-Keeper'. Original pictorial cloth (slightly chipped spine ends). Provenance: Harry Simpson (school prize certificate to initial blank).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
HERBAL. - James NEWTON. A Compleat Herbal… containing the Prints and the English Names of Several Thousand Trees, Plants, Shrubs, Flowers, Exotics, &c. London: E. Cave, 1752. First edition, 8vo (186 x 111mm.) Engraved portrait frontispiece of J. Newton, 175 engraved plates, 7pp. 'Index' to rear. (Browning to title, marginal paper repair to plate 145.) Near contemporary calf, red morocco lettering piece to the spine (some loss to the lettering piece, light rubbing). Note: Newton was a botanist and physician, but he also ran an asylum for the mentally ill in London. He began his herbal in 1680 but died before it was completed and it was published posthumously by his grandson. Provenance: Antonia Hengitt (name inscribed to front pastedown); Francis Hengitt (name inscribed to front pastedown); E.R. Massy (pencil name inscribed to initial blank).Buyer’s Premium 24.5% (including VAT @ 0%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 5% (including VAT @ 0%) of the hammer price.
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![BINDINGS. - Edward George Earle Lytton BULWER-LYTTON. [The Works.] London: George Routledge & Sons, 1877-1878. 26 vols.,](https://cdn.globalauctionplatform.com/02537358-0481-477d-bfa2-afac010d0d41/cbfa2fbe-fefb-4b50-a28d-afc100fd8725/468x382.jpg)
![MANUSCRIPT. [An apothecary's hand-written pharmacopeia. N.p.: circa early 19th century-late 19th century.] 228pp., manuscript](https://cdn.globalauctionplatform.com/02537358-0481-477d-bfa2-afac010d0d41/42b0e4c6-e634-41eb-86b1-afc100fd5e3d/468x382.jpg)
![[BROWN, Thomas.] Brighton, Or, The Steyne. A Satirical Novel. London: for the Author, 1818. 3 vols., second edition, 12mo (19](https://cdn.globalauctionplatform.com/02537358-0481-477d-bfa2-afac010d0d41/d9658600-b0e7-4b89-9fea-afc100fdabd8/468x382.jpg)
![[BORDELON, Laurent.] Les Tours de Maitre Gonin, Enrichis de Figures en Taille-douce. Anvers: Francois Huyssens, 1714. 8vo (15](https://cdn.globalauctionplatform.com/02537358-0481-477d-bfa2-afac010d0d41/5a0acfa2-89d1-4174-87e4-afc100fd93bb/468x382.jpg)
